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The University of Chicago 


FOUNDED BY JOHN D, ROCKEFELLER 


THE METAPHORICAL TERMINOLOGY 


OF GREEK RHETORIC AND LITERARY 
CRITICISM 


A DISSERTATION 


SUBMITTED TO THE FACULTY OF THE GRADUATE SCHOOL OF ARTS 
AND LITERATURE IN CANDIDACY FOR THE DEGREE OF 
DOCTOR OF PHILOSOPHY 


(DEPARTMENT OF THE GREEK LANGUAGE AND LITERATURE) 


BY 
LARUE VAN HOOK !\)\/ 


BOSTON COLLEGE LIBRARY 
CHESTNUT HILL, MASS, 
CHICAGO 
THE UNIVERSITY OF CHICAGO PRESS 


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PREFACE 


This dissertation, which is a study in the metaphorical termi- 
nology of Greek Rhetoric and Literary Criticism, has the following 
chief aims: first, after the origin and sources of the more obvious 
figurative terms have been determined, to classify them accord- 
ingly; and, second, to define their uses as critical terms by English 
and Latin equivalents. One or more examples of actual usage 
which best illustrate the meaning or history of each term are 
_ generally quoted. Further, the occasional citation of English 
terms of similar origin or meaning, and the quotation of parallel 
passages from both Latin and English literary critics, have been 
considered not inappropriate. 

A number of useful books are cited in the Appendix, to which 
references are made by giving author’s name and page. But I 
owe the most to the Lexicon of Ernesti and to Roberts’ editions 
of Longinus, Dionysius of Halicarnassus, and Demetrius, which 
have been exceedingly helpful and freely used. 

To Professor Paul Shorey, at whose suggestion this thesis was 
written, I am greatly indebted for assistance. To both Professor 
Shorey and Professor Edward Capps, as inspiring teachers and 
friends, I wish to express my deepest gratitude. 


Οὐ θ᾽. τε 


nN 


—_ 


On 


SSD AS SU Ie 89 


TABLE OF CONTENTS 


I. INTRODUCTION 


PAGE 
. The Development of the Terminology in Ancient Criticism - 7 
. Faded and Unconscious Metaphorical Terms” - - - Ὁ 
. Plan of Classification - - - - - - - - - 10 


CLASSIFICATION AND DEFINITION OF THE METAPHORICAL 
TERMINOLOGY. TABULAR VIEW OF THE SOURCES 


. Terms borrowed from Nature - - - - - - - 12 
a) Water and its Properties - - - She - 12 
b) Heat and Cold - - - - - - - - - 18 
6) Light and Darkness - - - - - - - - 14 
d) Weight, Height, and Length - - - - - - - 15 
6) Flowers - - - - - - - - - “he 
Terms borrowed from the Human Body; its Condition, Appear- 
ance, Dress, Care, etc. - - - - - - 18 

. Terms borrowed from Athletics, wie, and ὅτι Sea - - - 28 
Terms borrowed from Youth, Age, and Sex - - - - 26 
Terms borrowed from Social Status - - ath - - 27 
Terms borrowed from the Sense of Taste - - - - - 28 
Terms borrowed from Deities and Religion - - - - 29 
Terms borrowed from the Theater and Festivals - - - 81 
Terms borrowed from the Disposition and Morals’ - - - 8] 
Terms borrowed from the Trades and Arts - - - - 88 
a) Household Management - - - - - - - 88 
b) Roadmaking - - - - - - - - - - 88 
6) Medicine - - - - - - - - 84 
d) Weaving, Spinning, and ΠΑ ΕΝ - - - : - 35 
6) Carpentry - - - - - - - as - 387 
Ft) Metal-working - - - - - - - - - 88 
9) Engraving - - - - - - - - - - 89 
h) Architecture - “"υ-- - - - - - - 40 

7) and 7) Painting and ΠΡ ΒΕ - - - - - - 42 
11. APPENDIX 

. List of Books - - - - - - - - - 45 

. List of Authors Cited - - - - - - - - 45 

. Indices - - - - - - - - - - - 47 
a) Greek - - - - - - - - - - - 47 
ὃ) Latin - - - - - - - - - - - 49 
6) English - - - - - - - - - - - 50 


ΟῚ 


I. INTRODUCTION 


1. Tur DEVELOPMENT OF THE TERMINOLOGY IN ANCIENT 
CRITICISM 

To trace the gradual development and increasing technicality 
of the terminology in ancient Greek Criticism and Rhetoric with 
completeness would be impossible owing to the almost total loss 
of critical literature between Aristotle and Dionysius of Halicar- 
nassus. Rhetoric had its beginnings in Sicily and Empedocles 
(ca. 450 B. C.) is said to have been the inventor (Diog. L. 8, 57). 
Then follow the names of the real founders, Corax and Tisias of 
Syracuse, Gorgias and the Sophists. Aristophanes, in the Clouds 
and F’rogs, employs some new terms, although they are mainly 
ludicrous coinages of comedy. Of the Attic orators Isocrates 
(436-338 B. C.) is of the most importance for our study, as his 
rhetorical discourses and political pamphlets contain considerable 
discussion of literary style and composition. A number of 
references are made to his writings. 

In Plato (428-347 B. C.) and especially Aristotle we find a 
different method of treating Rhetoric, viz., the philosophical. In 
Plato this criticism is to be found for the most part in the Gorgias 
and Phaedrus; in Aristotle, in the Rhetoric and Poetics. Inthe 
technical terminology as developed by Aristotle we do not find 
any great number of metaphorical terms, which more literary and 
imaginative and less philosophical critics were to develop. Some 
examples are: ἀγωνιστική, ἀστεῖα, ἥδυσμα, ἡδύνειν, εἰρομένη, ἐπιχαλ- 
κεύειν, ἰατρεύματα, καθαρός, ποικιλία, κόλλησις, ALTOS, ὄγκος, πλοκή, 
ταπεινός, ὑδαρής, ψυχρός. Nettleship (pp. 49 and 56) speaking 
of the later literary criticism, of which Dionysius is the best 
extant example, says that it employs a number of technical terms 
of criticism which are unknown, at least to Plato and Aristotle; 
many of the terms cited, however, are found in Aristotle, Plato, 
and Isocrates, some of them in a technical sense. For example: 
ἀνθηρός, Isoc. 18, 18 and frequent; αὐθαδής, Arist. Rhet. 3, 3; 
ἀξίωμα, Arist. Rhet. 3, 2; ἀφελής, Arist. Rhet. 3, 9; πειθώ, Plat. 

7 


8 METAPHORICAL TERMINOLOGY OF GREEK RHETORIC 


Gorg. 453 A; μεγαλοπρεπής, Arist. Rhet. 3,12; ceuvos, ibid. 8, 3; 
συστρέφειν, ibid. 2, 24 and 3, 18. 

The Ars Rhetorica ad Alexandrum, commonly attributed to 
the rhetor Anaximenes, is probably later than Aristotle. It con- 
tains considerable technical terminology, but little metaphorical. 
From this point to Dionysius of Halicarnassus (first century B. C.) 
we possess little or no Greek literary criticism. Doubtless the 
lost New Comedy contained some literary discussion (Baker, “De 
Comicis Graecis Litterarum Iudicibus,” Harvard Studies, XV). 
Four great critics, whose writings, if extant, would form connect- 
ing links, are: Demetrius of Phalerum (300 B. C.), Hegesias 
(third century B. C.), Hermagoras, largely followed by Cicero, 
and Cecilius of Calacte, a contemporary of Dionysius at Rome 

In the works of Dionysius, the great representative of a later 
school of criticism, we meet for the first time a wealth of rhetorical 
terminology. In his numerous writings we find freely used a 
fully developed vocabulary which is completely adequate for the 
purposes of the professional rhetorician and the broad literary 
critic. Nor is he, like the representatives of the school which 
was to follow, lacking in imagination. Figures of speech and 
comparisons abound in his works. Thus his metaphorical vocabu- 
lary is rich and varied, and furnishes the largest number of 
examples of the terms considered in this study. 

Two important works of doubtful authorship and date are the 
treatises, On the Sublime, attributed to Longinus, and On Style, 
assigned to Demetrius of Phalerum. Neither Longinus nor 
Demetrius of Phalerum. are to be considered as the probable 
authors. As for their date, Roberts would assign both treatises 
to the first century A. D. The interesting treatise On the Sublime, 
which discusses the noble, the grand style, and treats of literary 
criticism generally, while it possesses a sufficiently wide vocabu- 
lary, yet does not present us with many new or metaphorical 
terms. The treatise περὶ ἑρμηνείας (de El.), attributed to 
Demetrius, is extremely rich in rhetorical terms, and possesses a 
very technical critical vocabulary. Some old terms are used in a 
new sense, while new and expressive words have been invented. 
Both of these works are frequently quoted in this study. 


INTRODUCTION 9 


The title, literary critic, can hardly be applied to Plutarch and 
Lucian, though some literary criticism is found in their writings. 
Consequently, a few references to them will be made. The scho- 
liasts and the Anthology are of so little importance for our study 
that they, too, may be dismissed without comment. 

Hermogenes (ca. 170 A. D.) was a rhetorician of great repute, 
whose treatises assumed the importance of textbooks for succeed- 
ing centuries. His works, five in number, form a complete system 
of Rhetoric, and enjoyed such vogue that innumerable commen- 
taries were written on them by later rhetoricians and grammarians. 
The works of Hermogenes fairly bristle with technical terms, but 
as he belongs to the school of cut-and-dried rhetoricians rather 
than to that of the imaginative literary critics, the metaphorical 
terminology is not large. 

Photius (IX cent. A.D.), Patriarch of Constantinople, is the 
last Greek writer to be considered. His βιβλιοθήκη, a review or 
account of some 280 books, contains scattered literary criticisms 
on writers, mainly ecclesiastical. While his critical vocabulary is 
neither extremely varied nor copious, yet some references may 
profitably be made to him. 

We need only mention the chief Roman rhetorical works: the 
Rhetorica ad Herennium (ca. 85 B. C.); the lost work of Varro; 
the rhetorical works of Cicero; the Ars Poetica of Horace; the 
rhetorical writings of Tacitus and Quintilian. The value of these 
works is greatly enhanced by the fact that their sources are to a 
large extent lost Greek works. These writers have been freely | 
drawn upon for illustrative terms and comparisons. 


2. FADED AND UNoonsoious METAPHORICAL TERMS 


How much of the terminology is or can be non-metaphorical 
is a question which confronts us at the very beginning of our 
study. Meal literary criticism does not begin until a language is 
practically developed. Thus a critical vocabulary is formed more 
by appropriating and borrowing words and extending their uses 
than by the invention of terms wholly new. Many of these terms 
in reality metaphorical are either unconscious or faded. Thus it 
is difficult in our study to tell where to draw the line sharply in 


10 METAPHORICAL TERMINOLOGY OF GREEK RHETORIO 


the selection of a strictly metaphorical terminology. Striking 
and conscious images forcibly impress us and are immediately 
evident. For example, when Dionysius speaks of Plato βοστρυχί- 
Cov καὶ κτενίζων τοὺς διαλόγους, curling and combing his dialogues, 
indicating the elaborate care and attention given them, or when 
Ben Jonson imitating the Roman critics, speaks of a bony and 
sinewy style, there is no difficulty in the recognition and classifi- 
cation of such figures. On the other hand, weak and faint figures 
are more numerous, for any expressive word may have been used 
with varying shades of meaning before it is employed by literary 
criticism. The metaphor is thus minimized through the blunting 
of the original force. The number of these words is very large. 
It will be easy, therefore, to criticise any collection of terms 
because of omissions. But it must be kept in mind that this 
study is necessarily restricted to the consideration of the more 
obvious and conscious metaphorical terminology. 


3. PLAN OF CLASSIFICATION 


It is impossible to make a precise and strictly accurate classi- 
fication of the sources of the metaphorical terminology. A minute 
subdivision would multiply the categories to an intolerable 
degree. Nor is it necessary to our study and definition of the 
various critical terms. For the student of metaphor and simile 
in literature it is convenient to consider figures under two general 
heads: first, tropes drawn from the field of Nature, and, second, 
those having their source in Human Life. So broad a division, 
however, is of little service to us, for the critical terms drawn 
from Nature as a source are very few as compared with those 
which have Man and Human Life as their origin. And this is to 
be expected; for as oratory and rhetoric with the ancients were 
regarded as fine arts, the result of painstaking endeavor, so it is 
only natural to find the results of such human labor criticised in 
terms originating in the Arts and man’s activities generally. 
The plan of classification followed, then, is simply to collect in 
groups terms which belong by virtue of apparent primary use or 
significance to certain general fields. The order in which the 
groups are treated is purely arbitrary, but an endeavor has been 


INTRODUCTION 11 


made to place first the simplest images, and then groups of meta- 
phorical terms which were suggested by an ever developing and 
advancing civilization. So we consider first the terms from 
Nature; then, in Human Life, we may naturally place near the 
first Man’s Physical Constitution and his participation in War 
and Athletics; then Youth, Age, and Sex; Social Status; the 
Sense of Taste; Deities and Religion; the Theater; Mental and 
Moral Characteristics. It is convenient, last of all, to treat of the 
Trades and Arts, from which general field a very large number 
of critical terms and comparisons are borrowed. 


II. CLASSIFICATION AND DEFINITION OF 
THE TERMS 


1. Terms DERIVED From NATURE 


We have already noted that figurative critical terms drawn 
from Nature are few in number as compared with those having 
their origin in Man and Human Life. Under the above heading, 
however, the following classes may be considered: (a) Water 
and its Properties; (b) Heat and Cold; (c) Light and Dark- 
ness; (d) Weight, Height, and Length; (e) Flowers. 


A. WATER AND ITS PROPERTIES 


With the Greeks and Romans the conception of speech as a 
stream which flows from the mouth is very common. In fact, 
with the Romans, the metaphorical force in the expression flumen 
orationis is weak, so generally is it used in place of the single word 
oratio. For some exx. see Cic. de Or. 2, 15, 62; 2, 45, 188; 
de Nat. Deor. 2,1, 1; 2, 7, 20; Quint. 9, 4, 61; 10,.1, 61;. ete. 
The word fluwmen means literally merely something that flows, and 
in application was quite general. 


καθαρός, pure, clear, lucid. L. purus. x. (and its L. equivalent as applied 
to style) is a metaphor taken from clean, white garments (Od. 6, 61 of εἵματα 
and Verg. Aen. 12, 169, toga pura); and also perhaps more frequently, from 
pure, clean water. Isoc. 5, 4, καθαρῶς used of λέξις, In Arist. a synonym of 
ἑλληνίζειν = idiomatic. Common term later. In Dion. H. de Lys. 2, καθ. is 
given as a striking characteristic of Lysias’ diction. Vb. καθαρεύειν; noun, 
καθαρότης, purity. In Hermog. π. ἰδ. chap. 3 (Spengel, Rhetores Graeci 2, Ὁ. 275) 
it is an element of σαφήνεια, lucidity. Opposed to καθαρότης in diction or style 
is θολοῦσθαι, to be turbid, properly of troubled water; Longin. 3,1: Cf. 
Horace’s famous disparaging comparison of Lucilius to a muddy stream. 
(Serm. 1, 4, 11). 

καταφορικός and ἐπιφορικός seem to have their origin in the rush or down- 
pour of water, rain, etc. καταφορικὸς λόγος = an invective. L. oratio vehemens. 
καταφορά, Hermog. (Sp. 2, p. 249). καταφορεῖν, Pl. Rep. 587 E, of pouring 
forth a stream of arguments. 

ἀποκυματίζειν, lit. to swell with waves. Met.in Dion. H. de Comp. 23, p. 
212, of a harsh arrangement of words. L. perturbare sonum. In the same 
chapter διασαλεύειν is used in the same sense. 


12 


CLASSIFICATION AND DEFINITION 13 


διαυγής, translucent, transparent. L. pellucens. Dion. H. Ep. ad Pomp. 
2, p. 758, of the language of Plato when he uses the plain style. 

κρουνός, lit.a spring. Of a torrent of words, Ar. Ran. 1005; cf. also Eq. 
526 ff. and Cratinus (Fr. 186, Kock). παφλάζειν, to boil, of the sea. Of a 
speaker, to bluster. Freq. in Ar., e. g., Av. 1243; Pac. 314, of Cleon. 

καταντλῆσαι, lit. of pouring water over one; also, a medical term, of 
fomentations. Met. to flood with words: Ar. Vesp. 483; Pl. Rep. 344 Ὁ: 
Lys. 204 D; Longin. 12, 5. 

ῥεῖν, lit. of water, to flow. Of language, Dion. H. Ep. ad Pomp. 6, p. 786, 
ἡδέως καὶ μαλακῶς ῥέουσα, of the diction of Theopompus. Phot. Bibl. 94, 
λέξις ῥέουσα καὶ μαλακή. Ibid. 119; 141. Philostr. V. Soph. 1, p. 482. Cf. Τὶ. 
jflumen orationis. eipovs, flowing well or easily. L. oratio pulchre fluens. 
Dion. H. de Comp. 23, of λέξις. 

ὑγρός, lit. fluid, running, of liquids. Of style, smooth, fluid. L. fluidus. 
Also with meaning soft, pliant, supple. L. mollis. Alcid. περὶ σοφιστῶν 16; 
Dion. H. de Dem. 20, p. 1013, ὑγρὰ λέξις, ὁμαλή, καὶ ὥσπερ ἔλαιον ἀψοφητὶ διὰ τῆς 
ἀκοῆς ῥέουσα. Cf. Pl. Theaet. 144 Β for the figure. Longin. 34, 8. Cic. de 
Or. 2, 15. ; 

ὑδαρής, watery, dilute, feeble, weak. Met. in AXsch. Arist. Poetics 26, 
08. μῦθος. Dion. H. de Dinarch. 11, 65. χαρακτήρ. 

xetv and its derivatives furnish a number of words designating speech 
and style, from the idea of water continuously flowing. So L. fundere; cf. 
Nagelsbach Stil. Ὁ. 531. Kexupévos, diffuse. L. fusus. Dion. H. de 1806. 
2; de Dinarch. 11, p. 660. ἀδιάχντος, concise, compact. L. astrictus. 
Longin. 34, 3, of Demosth. πολύχους, pouring forth words. L. copiosus. 
Phot. Bibl. 35, et passim. χεῦμα, stream, flow; Longin. 13,1. χυδαιολογία, 
plebeian loquacity. χυδαιότης, χυδαῖος, Phot. passim. χύδην, in floods. L. 
oratio soluta. Isoc. 238 A and Hp.9,5. Arist. Rhet. 3, 9,3, τὰ x. opp. to τὰ 
μέτρα. Pl. Legg. 811 D in prose. χύσις, copiousness of speech; Longin. 12, 4. 

Kepavvivar, to mix, blend, unite styles or elements of speech, etc. L. 
miscere, temperare. Arist. Poetics, 22,30; frequent in the Rhetoricians. Cf. 
also εὔκρατος, dxépacros and κρᾶσις. Of almost identical meaning are μειγνύναι, 
to mix or blend. Cf. Isoc. 13, 16, μεῖξαι προς ἀλλήλας elements of discourse. 
μεικτός, blended, compounded. L. mixtus. 

The origin of the terms, μειγνύναι and κεραννύναι, their derivatives and 
compounds in the rhetorical writers, is to be found according to Greilich 
(p. 34) in painting —in the mixing of colors. This seems very doubtful. It 
is true that the words are found in passages relative to the mixing of colors, 
there being perhaps no other terms to use in such a connection. But the 
verbs are of very general meaning and application and are used of mixing 
and blending things generally, especially liquids, as wine and water (so 
xepavviva), ‘There is little or no metaphorical force in the terms. If any was 
felt it would likely come, as has been said, from the idea of mixing liquids. 


B. HEAT AND COLD 


Metaphors derived from heat and cold are common in all 
languages, particularly in literary criticism. Harnest and vehe- 


14 METAPHORICAL TERMINOLOGY OF GREEK RHETORIO 


ment speech is naturally thought of as heated by the fire of passion; 
as Tacitus says (Dial. 36): “It is with eloquence as with a 
flame. It requires fuel to feed it, motion to excite it, and it 
brightens as it burns.” (Trans. by Wm. Pitt.) So Cicero (Brut. 
24,93): “Vis et dolor’ inflame the speaker, but when “ardor 


animi’’? is absent, “omnis illa vis et quasi flamma oratoris — 


_exstinguitur.” 
τὸ διάπυρον, heat, fire, passion. L. calor. Longin. 12, 3 of Demosthenes, 


and in the same connection, ἐκφλέγεσθαι, to burn with passion. L. exardescere. 


Cic. Or. 29, 102. So θερμός, hot. Of speech, fiery, vehement. L. calidus, 
vehemens. Philostr. V. Soph.1, p. 542; 2, p. 578. 

Similarly we find the characteristics of literary coldness, or frigidity 
designated by the terms, τὰ ψυχρά, τὸ ψυχρόν, ψυχρότης, frigidity, tasteless- 
ness, tameness. L. frigus. ψυχρός, frigid, cold, vapid, tasteless. L. frigidus. 
See Arist. Rhet. 3,3 and Longin. chap. 4, for the literary faults which cause 
frigidity. The verb ψύχειν is found in Longin. 12, 3; 27,1. The idea is found 
early in the Comedians. Cf. Ar. Thesm. 848, of the frigid play, Palamedes ; 
Ach. 138, of the frost that followed the play of Theognis; Eupolis (Kock, 244) 
σκῶμμα... .. σφόδρα ψυχρόν. Isoc. 21 D; Pl. Huthyd. 284 EB. For the dis- 
tinction between ψυχρός and κακόζηλος, affected, see Demet. de El. 186. 


C. LIGHT AND DARKNESS 


It is altogether natural to consider a style which is clear and 
lucid as illuminated by the daylight of perspicuity, while certain 
literary faults as brachylogy, redundancy, frigidity cause a dark- 
ness. and gloom as of the night to obscure the sense. Greilich 
(pp. 36, 37) classifies the words defined below, e. g., φῶς, σκότος, 
as borrowed from painting, i. e., the light and shade of a picture. 


Now the metaphorical force in these terms is weak, but it is 


more natural to suppose that their primary force, when conscious 
in the mind of the speaker, had reference to the brightness of 
day and the darkness of night. This is shown by Dionysius, who 
says (ad Pomp. p. 759), “Certain faults obscure what is clear, 
and make it like unto darkness.” So Jonson, Timber,’ p. 59, 
‘“‘Many writers perplex their readers and hearers with mere non- 
sense. Their writings need sunshine.” 


1A number of very apt quotations from Jonson’s Timber are cited in the following 
pages, especially in Section II. These are often very close parallels, from the fact that 
Jonson drew freely from the ancient critics, translating, imitating, or commenting on 
passages which struck his fancy. Quintilian is an especial favorite with him; so also the 
elder Seneca, Aristotle’s Poetics, and Plutarch, as well as the more usual classic writers. 
(Cf. Schelling ed. of Jonson’s Timber, Ginn & Co.) For Jonson’s manner of “looting classi- 
cal treasuries’? see Symonds, “‘ Ben Jonson”? in English Worthies, pp. 52, 53. 


΄ 
ee 


CLASSIFICATION AND DEFINITION 15 

φῶς, of style, clearness, perspicuity, light. L.lux. Dion. H. de Thue. 9, 
p. 828 speaks of τὸ τηλαυγὲς φῶς ἐκεῖνο καὶ καθαρόν in narration. Philostr. V. 
Soph. 1, p. 509, σαφηνείας φῶς ἐν τῷ λόγῳ. Quint. 2, 5, 7, narrandi lux. 

λαμπρός, bright, brilliant, shining, of sun, stars, water, white clothes, etc. 
So of style, which is brilliant, splendid and conspicuous for any reason. L. 
splendidus. Arist. Poetics 24, 23, ἡ λίαν λαμπρὰ λέξις, an over-brilliant or 
ornamented diction. Ar. Av. 1388. Hermog. λαμιπρὸς λόγος. λαμπρότης, bril- 
liancy. L. genus dicendi splendidum. In Hermog. π. ἰδ. chap. 9 (Sp. 2, p. 304), 
λαμπρότης materially assists in producing μέγεθος, grandeur, and ἀξίωμα, dignity. 

λευκός, light, bright, white. Of style clear, transparent. L. candidus. 
Phot. Bibl. 193 praises in Maximus τὸ λευκὸν εἶδος λόγου, genus dicendti 
candidum, i. e., clearness and purity. Suidas, 5. v. ἐνάργεια = λευκότης καὶ 
φανότης τῶν λόγων. 

ἔμφασις, a reflection in a smooth surface, then outward appearance. 
Appearance, impression. Demet. de El. 47, 57. Asa rhet. fig. emphasis lies 
in a statement when it means more than it apparently conveys; cf. Volk- 
mann, p. 445. 

peratvev, to obscure, blacken, obfuscate. L. orationis lucem obscurare. 
Dion. H. ad Pomp. p. 759. So ἐπισκοτεῖν, Arist. Rhet. 3, 3, διαλύει τὸ σαφὲς τῷ 
ἐπισκοτεῖν. σκοτεινός, dark, obscure. L. obscurus, tenebricosus. Of style, opp. 
to σαφής. Demet. de Εἰ. 192. Dion. H. de Dem. 35, p. 1064, AZschines is said 
to have blamed Demosth. for τὸ σκοτεινόν. Phot. 138. Heraclitus was called 
ὁ σκοτεινός because of the obscurity of his writings; so Lycophron is called ater, 
obscure, by Stat. Silv. 5, 3, 157, latebrasque Lycophronis atri. σκοτίζειν, to 
obscure, darken, confuse. Cf. Quint. 8, 2, 18, who says “that the literary 
fault of obscurity is not new. In Titus Livius there is mentioned an instructor 
who ordered his pupils to obscure (obscurare) their language, using the 
Greek word ‘cxérigov.”” Jonson Timber p. 63, is doubtless imitating Quint. 
4,2 et passim when he says: “Rectitudo lucem adfert; obliquitas et cir- 
cumductio offuscat. Obscuritas offundit tenebras.” 


D. WEIGHT, HEIGHT, AND LENGTH 


In this section we shall consider a number of critical terms 
which have their origin in the ideas of weight or size of material 
objects ; in height; and in position, length, or extension. Weighty 
qualities in style which suggest solidity are generally commendable, 
at least where gravity and dignity are desired. Greek style, how- 
ever, whether poetry or prose is the medium, is characterized in 
general by lightness and delicacy of touch rather than by the 
weighty or the ponderous. As Symonds (Essays, Speculative 
and Suggestive, p. 194) says, ‘“Ponderosity is not the note of 
Greek eloquence, yet two great poets, Pindar and Atschylus, 
revealed the possibility of a massive Greek style.’ Excellence, 
too, is usually associated with height or elevation. So Dionysius 


16 METAPHORICAL TERMINOLOGY OF GREEK RHETORIC 


(de Dem. 34) says that in Demosthenes, propriety, τὸ πρέπον, 
touches the stars. On the contrary, τὸ ὕπτιον in style, for 
instance, is a defect, for the word has the idea of loss of height or 
position, viz., prostration and supineness; so Eustathius (ad 1]. 
p. 827) aptly speaks of setting upright a prostrate style. 


Weight— 

βάρος, lit. weight, heaviness. Of language, gravity, dignity. L. gravitas. 
Dion. H. de Dem. 34, p. 1061. So βαρύτης esp.in Hermog. Cf. the term ἐμβριθής, 
lit. weighty. L. gravis. τὸ ἐμβριθές, of style, weight, gravity, dignity. L. 
gravitas. Dion. H. ad Amm. 2, p. 793; Longin. 9, 3, ἐμβριθεῖς ἔννοιαι. 

ὄγκος, lit. bulk, mass, weight. Of style, dignity, pomp, impressiveness, 
gravity. L. amplitudo, tumor. The word is freely used in both compli- 
mentary and unfavorable senses and the context must often be the guide as 
to the intended meaning. For the favorable sense, cf. Isoc. 15, 47, ἐνθυμήμασιν 
ὀγκωδεστέροις. Arist. Rhet. 3,6 = amplification, as opposed to συντομία, concise- 
ness; idem, Poetics 24, 5, of the massive heroic measure. Demet. de ΕἾ. 36ina 
favorable sense (where ὄγκος and μέγεθος are joined); see also 54, 66, 77, 83. 
Longin. 8, 3 joins τὸν ὄγκον καὶ τὸ ὑψηλόν, dignity and elevation. Id. 15, 1. 
Hermog. 7. ἰδ (Sp. 2, p. 286) joins ὄγκον, μέγεθος and ἀξίωμα. Phot. Bibl. 71. The 
term éyxos often has an unfavorable sense, however. Volkmann (p. 557) is 
clearly wrong when he says, “Das Wort ὄγκος bezeichnet bei den Rhetoren 
keineswegs, wie unser Schwulst, etwas schlechtes, sondern das os magnum, 
die sublimitas.” For the meaning, pomp, magniloquence, inflation (causing 
frigidity), tumidity, bombast (L. tumor) cf. Longin. 3,4; swellings (ὄγκοι) both 
of body and diction are evils. Cf. 30,2. Demet. de El. 114, 119, 120, 247. Cf. 
adjectives, ὀγκηρός, ὀγκώδης, ὑπέρογκος, and the verbs éyxodv and διογκοῦν. It is 
convenient to insert here several words, compounds of ἵππος which contain, in 
general, the idea of size and bulk, which cause bombast: ἱππόλοφοι (λόγοι), Ar. 
Ran. 818; ἱππόκρημνα (ῥήματα), ibid. 929; ἱπποβάμον (ῥῆμα), ibid. 821; ἱπποτυφία, 
excessive ornamentation of unimportant subject-matter. Lucian and Diog. L. 
Height— 

Sunppévos, lofty, elevated. L. grandis, sublimis. Hermog. 7. ἰδ, (Sp. 2, 
p. 415). 

ὑψηλός, lofty, elevated (akin to μεγαλοπρεπής). L. sublimis, magnificus, 
grandis (Quint. 10, 1, 65). Frequent in Dion. H. and Longin. ὕψος, elevation, 
sublimity, loftiness, dignity, grandeur, eloquence. L. sublimitas. Longin.1,3 
defines it as ἀκρότης καὶ ἐξοχή τις λόγων. A definition suggested is, “anything 
which raises composition above the usual level, or infuses into it uncommon 
strength, beauty, or vivacity.” (Cf. Roberts.) The term goes back to Cecilius 
at least; see Longin. 1, 1. 

μετέωρος, lit. raised above ground, high in air. Of style, inflated, bom- 
bastic, tumid. L. tumidus. Longin. 3, 2 gives examples from Gorgias. Dion. 
- H. de Isaeo 19 of Isoc. in a good sense. 

εὐκόρυφος, lit. with beautiful top. Of periods, ending well, having a suit- 
able and rhythmical structure. Dion. H. de Dem. 43 (p. 1093) opp. to ὕπτιαι. 


CLASSIFICATION AND DEFINITION 17 


βάθος, depth or height. In Longin. 2,1 the profound, a synonym of ὕψος, 
the lofty. In English Rhetoric, bathos, of course, always has an unfavorable 
significance, anticlimax; cf. Martinus Scriblerus, περὶ βάθους : Or of the Art 
of Sinking in Poetry (Elwin and Courthope’s edition of Pope’s Works, X, 
pp. 344-409). 


Position, Length, Extension — 

ὕπτιος, lit. fallen on the back, prostrate, supine. Of language or style, 
languid, spiritless, slow, flat, tedious, nerveless. L. supinus. Quint. 10, 2,17. 
τὸ ὕπτιον, negligence, carelessness. L. tarditas, languor, absence of force or 
energy. So ὑπτιότης. Verb, ὑπτιάζειν, to be negligent or careless. Phot. Bibl. 
79. Philostr. V. Soph. p. 495. Frequent term in Dion. H. as a fault of 
style. Cf. de Isoc.2. ὕπτια λέξις, de Dem. 18. Hermog. π. ἰδ. 2 (Sp. p. 412), 
“Tsoc. has no yopyérns, but rather τὸ tari.” 

χαμαιπετής, low, mean, vulgar, groveling. L. humilis. Lucian, Hist. 
Conscr. 16. Phot. Bibl. 97; 180. Horace’s serpit humi, A. P. 28 and sermones 
repentes per humum, Ep. 2, 1, 251, may be compared. 

σχοινοτενής, lit. stretched out, like a rope or measuring line. Of style, 
stretched out, long, prolix; cf. Eng. term wire-drawn, of spun-out style. 

Pind. Fr. 47, σχοινοτένεια ἀοιδά, Hermog. 7. εὗρ. Sp. 2, p. 244; Anon. π. cx. Sp. 3, 

- p. 113; Phot. Bibl. 192; 164; 177. 

ὀρθός, straight, direct. L. rectus. Opp. term is ἀγκύλος, lit. crooked, 
curved; met. of style, involved, intricate. L. contortus, intricatus. 

ἀφελής, lit. even, smooth. Of plains, Ar. Hq.527; of language, simple, not 
involved. Arist. Rhet. 3,9; see Cope’s note. Of style, plain, simple. Dion. 
H. ad Pomp. 2, p. 758, τὸ ἀφελές and ἀφέλεια, plain, simple style. L. simplicitas. 
Cf. Quint. 11,1. Lysias is the great exemplar of τὸ ἀφελές, ἡ λέξις ἀφελής, also 
designated ἡ λιτή in Dion. H. de Dem. 2, is Cicero’s genus tenue (Orator). The 
diffuse style of the speech On Concord (of the Sophist Antiphon) is like to a 
smooth plain, παραπλήσια τῶν πεδίων rots λείοις. (Philostr. V. Soph. p. 500.) 


E. FLOWERS 


Greek literature abounds in metaphors derived from flowers 
and their blossoming. Literary criticism, too, from Isocrates 
down, frequently designates a figurative, elaborate, or embellished 
style as flowery. When not carried to excess, such a style is 
commended by the critics. As Jonson Timber p. 61, says, 
“Some words are to be culled out for ornament and color, as we 
gather flowers to strew houses, or make garlands.” 

ἀνθίζειν, lit. to strew or deck with flowers. Met. to wse a flowery or florid 
style. This is expressed in Latin by a met. term of different origin, depingere. 
Dion. H. de Lys. 13, p. 481, speaks of the χάρις of Lysias, ἀνθίζουσα τὴν λέξιν 
αὐτοῦ. Idem, de Isoc. 13. So ἐπανθίζειν, Philostr. 500. Cf. ἐπανθεῖν, Dion. H. de 


Dem. 13, p. 992; Longin. chap. 30. ἀνθηρός, flowery, florid. L. floridus 
(floribus laetus, Quint. 8, 3, 88). Isoc. 294 HE, ἀνθηρότερον λέγειν. Dion, H. de 


18 METAPHORICAL TERMINOLOGY OF GREEK RHETORIC 


Dem. 18, p. 1007; idem, de Comp. 21. The γλαφυρὰ ἢ ἀνθηρὰ ἁρμονία, the smooth 
or florid, is one of his three styles or modes of composition ; characterized in 
L. by various terms, lene, nitidum, suave, compositum, medium. ἄνθος, flower. 
L. flos. Dion. H. Ep. ad Pomp. 2, p. 759; Longin. 10,4; Anon. in Sp. Rh. Gr. 
1, p. 323. For flowers (flores, flosculi) of Rhet., cf. Cic. Sest. 56,119; Quint. 2, 
5, 22; 10, 5, 23; 12, 10, 73; Gell. 17, 2,1. In this category we may discuss the 
word ἐπιφυλλίδες used by Ar. Ran. 92 of petty poetasters. L. and S. follow 


."» 


the scholiast, “Small grapes left for gleaners;” so Ern. “racemi post vin- 
demiam collecti.” Fritzsche perhaps better takes the word to mean, “vines 
of rank leafage,” i. e., abundance of leaves but little fruit. Cf. Pope, Es. on 


Crit. 308-9 : 
“Words are like leaves; and where they most abound, 


Much fruit of sense beneath is rarely found.” 


So Quint. 8, Proem. 23: “100 many niceties obscure the sense and choke the 
crop, as it were, with a superabundance of herbage—sensus obumbrant et 
velut laeto gramine sata strangulant.” 


2. THe Human Bopy: τῷ ConpDITION, APPEARANCE, DREss, 
CaRE, Ero. 

One of the most fruitful sources from which the ancient rheto- 
ricians derived critical terms, figurative illustrations of style and 
rhetorical characteristics is the human body, its appearance and 
condition, and its constituent parts. The Ps. Plut. περὶ mais. 
ἀγωγ. T says: ‘Just as the body should be sound and in a 
healthy condition, so λόγος likewise must be not only free from 
disease, ἄνοσος, but robust, εὔρωστος." So the necessity of health 
and sanity, bona valetudo, sanitas, salubritas, integritas, in dis- 
course is constantly emphasized in the Roman literary critics. 
Cf. Quint. 2, 4, 9; 10, 1, 44; 12, 10, 15. Οἷς. Brut. 82, 284; 
80, 278; 18, 51; de Opt. Gen. Or. 8; 11 and 12. Tac. Dial. 25, 
26. Tacitus (Dial. 21) gives a very striking comparison between 
oratio and corpus hominis. “Oratio autem sicut corpus hominis 
ea demum pulchra est in qua non eminent venae nec ossa nume- 
rantur, sed temperatus ac bonus sanguis implet membra et exsurgit 
toris ipsosque nervos rubor tegit et decor commendat.” This 
may be the source of Jonson Timber p. 66: ‘Where juice 
wanteth, the language is thin, flagging, poor, starved, scarce 
covering the bone, jejwna, macilenta, strigosa and shews like 
stones in a sack.’’ A forcible comparison is given by Pliny 
(Ep. 5, 8): “The bare bones, muscles and sinews, ossa, musculi, 
nervi, suit history; oratory needs swelling brawn and flowing 


CLASSIFICATION AND DEFINITION 19 


hair, tori quidam et quasi iubae.” Demet. (de Hl. 2) compares 
sentence-structure to the arm and its parts. 

As in the physical constitution there is a striking difference 
between slender and robust persons, so, by analogy, in types of 
style the rhetoricians opposed the plain, spare, and meager to the 
full, ample, and forcible. The metaphor in the following two 
terms is undoubtedly that of bodily condition. 


ἰσχνός, lit. dry, withered, esp. of persons, lean, spare, meager. As one of 
the three types of style, ἁδρόν, ἰσχνόν, μέσον. Plain, simple, unadorned, spare. 
L. tenuis (Cic. de Or. 3, 52, 199), subtilis (Quint. 12, 10, 58), gracilis (Aul. 
Gel. 6,14). Lysias was the typical example of the icy. χαρακτήρ. Cf. Dion. H. 
_ de Dem.chap.11. Demet. de El. 36, 183,190 et passim. Dion. H. Ep.ad Pomp. 
2, p. 758 (et passim). ἰσχνότης is the noun. Perhaps the statement of Jonson 
Timber p.66 may be taken to describe the ἰσχνὸς x. “There be some styles 
again that have not less blood, but less flesh and corpulence. These are bony 
and sinewy, ossea et nervosa; ossa habent, et nervos.” 

ἁδρός, lit. thick, stout; of persons, large, strong. Of style, sometimes 
opposed to the ἰσχνὸς χαρακτήρ, strong, forcible expression. L. uber and 
-amplus. (Quint. 10, 1, 44; 12, 10, 58, grande atque robustum, quod ἁδρόν 
vocant.) Uber, grande, amplum, elatum, concitatum. Dion. H. de Comp. 
4 (Sch. p. 62), ἁδρὰ νοήματα. Longin. 40,4; Aul. Gel. 6,14; Eustath. ad Hom. 
Il. p. 406, 30. The Roman rhetoricians frequently use the words sanguis and 
sucus to describe fullness, richness, warmth, robustness of style. For 
sanguis, cf. Cic. Brut. 36, “sucus ille et sanguis incorruptus” (of Attic orat.); 
ibid. 68, 283. Quint. 8, 3, 6; 10, 1,60; 10,1, 115; 10, 2,12; 11, 1, 34. Sueuws 
lit. vital juice, sap of life. Met.: Or. 23, 76; de Or. 2, 88; ibid. 93; 3, 96. 
Brut. 36. Quint. 1, Proem. 24; 10,1, 31. Cf. also Quintilian’s striking phrase 
(10, 1, 32) Livi lactea ubertas, the milky richness of Livy. 

ἁβρότης, in its earliest use refers to beauty, grace, and delicacy of per- 
sonal appearance. As a term of style it is rather late. Sweetness and charm. 
L. dulcedo, amoenitas, suavitas. In Hermogenes (Sp. 2, p. 368), ἁβρότης, 
γλυκύτης, ἡδονή and ὥρα, are almost synonymous terms, and are produced by 
the same means. Menander, Philostr., Eustath. Cf. τρυφερός, delicate, dainty, 
elegant, effeminate. L. elegans, nitidus. Dion. H. de Comp. chap. 22. 

ἀκμή, most frequently of the prime of life, of greatest strength and vigor. 
Of style, vigor. L. vigor orationis, vis. In Hermog. 7. ἰδ. 1, chap. 10 (Sp. 2, 
p- 308) ἀκμή arises from λαμπρότης and τραχύτης. ᾿Ακμαῖος λόγος is a robust, 
sinewy eloquence which pushes an adversary hard. (Jebb. 2, p. 299). 

yovipos, lit. productive, generative, fruitful. L. fecundus. Ar. Ran. 96, 
γόνιμον δὲ ποιητὴν ἂν οὐχ εὕροις ἔτι ζητῶν, i.e, a genuine poet of highest originality. 
Longin. 31, θρεπτικώτατον καὶ γόνιμον. Menander (Walz 9, p. 154). τὸ γόνιμον, 
fecundity, native ability in a writer. L. fecwnditas, ingeniwm. Philostr. 
V. Soph. 2, p. 582; Phot. Bibl. 6. Of the opposite meaning is ἄγονος, barren, 
unproductive, sterile. Plut. 2, 348 B, ἄγονος ποιητής. 

ἔμψυχος, living, keen, animated. L. sanguinis plenus, vivus, animatus. 
Longin. 34,4. Luc. Dem. 14, ἐμ. λόγος. So Hermog. Opposite term is ἄψυχος. 


20 METAPHORICAL TERMINOLOGY OF GREEK RHETORIO 


τὸ ἔμψυχον, liveliness, vigor, animation in an orator, Dion. H. de 7806. 13, p. 560. 
So ἰσχύς, originally strength of body. Of style, strength, force, Dion. H. ad 
Pomp. 3, p. T76. | 

κάλλος, beauty of persons, esp. of women. Of style, beauty. L. pulehri- 
tudo. From Arist. down. Longin 5; Demet. de El. 106, 166 ef passim. So 
εὐμορφία, elegance, beauty of form. Dion. H. de Dem. chap. 32. 

μυκτήρ, lit. the nose; from the use of the nose to express ridicule (cf. 
μυκτηρίζειν), raillery, sarcasm. Longin. 34, 24. possessed by Hypereides. 
Quint. 8, 6,59. So nasus in Lat., Mart. 1, 42,18. From the features also is, 
ὀφρύς, lit. brow. L. superciliwm. Of style or diction, ewaggeration. Ar. 
Ran. 925, ῥήματα ὀφρῦς ἔχοντα. Philostr. 

μέγεθος, in Homer always of stature, size of persons. Of style, grandeur, 
elevation. L. magnitudo, sublimitas. Demet., Longin., Hermog. 7. ἰδ. 1, chap. 5 
(Sp. p. 286). Phot. μικρότης, littleness, meanness, L. parvitas, ewxilitas, is 
the opposite term. 

ῥώμη, bodily strength. Of a writer, force. Of Thuc. in Dion. H. ’Ap x. 
Kp. p. 425 (R.). L. vis. (Quint. 10, 1, 73, of Thuc.) Cf. ἀλκή, Dion. H. de Thuc. 
23 ad fin. So στιβαρός, virile, robust, synonymous with austere. L. robustus. 
σ. λέξις, de Thuc. 24; de Comp. 22. 

τάχος, swiftness of foot of animals and men. Rapid movement, rapidity 
of language. lL. celeritas. Arist. down. 

τόνος, intensity, energy. L. vis, robur, nervi orationis. Dion. H. de Thue. 
chap. 53; de 1806. 13. Longin. 9, 13, and 34. So evrovia, Dion. H. ’Apx. Kp. 
2,3. ἄτονος, languid. © 

ὥρα, freshness, vigor and beauty of youth. Of style, freshness and beauty. 
Dion. H. ad Pomp. 2, 4. 

For these positive qualities of style, cf. L. nervus, vis, vires, vigor, nervi, 
lacerti, ossa, robur. Similar English terms are: Animated, full-blooded, 


full-bodied, hearty, lively, lusty, muscular, nervous, robust, sinewy, strenuous, | 


supple, vigor. 

Weaknesses and faults of style are aptly designated by striking 
terms properly applied to impaired bodily condition. Cf. the 
English terms, cold-blooded, emasculate, exhausted, feeble, flaccid, 
invertebrate, languid, lax, loose-jointed, meager, nerveless, weak. 


αὐχμηρός, lit. dry, dirty, squalid. τὸ αὐχμηρόν and ὁ αὐχμός refer toa dry, — 


meager, spare, jeyune style. L. squalor, siccitas. Used esp. by Dion. H., cf. 
᾽Αρχ. Kp. p. 431, of Lysias, τὸ αὐχμηρὸν ἐκπεφευγώς; de Dem. chap. 44; de Thue. 51. 
A synonym is putapés, dirty, sordid. Longin. 43. 5. 

βλακώδης, lit. lazy, indolent. τὸ βλακῶδες, Phot. Bibl. 94, of the slack, 
languid character of the diction of Iamblichus. Similarly μαλακός of habit of 
life, soft, languid, pleasant, lazy. L. mollis. Isoc. 5,149 asks pardon if his 
discourse be μαλακώτερον, somewhat languid, feeble. So 12,4. Arist. Rhet. 
and Dion. H. So also μαλθακός. 

ἄψυχος, lifeless, lacking in spirit. L. inanimus, exsanguis. Dion. H. de 
Dem. p. 1012, ἄψυχος διάλεκτος. So ἀπόψνχα. Longin. 42, cf. τεθνηκός, dead, 
lifeless. Li. vita carens. Eunap. Vit. Liban. p. 98 (170), ὁ δὲ λόγος αὐτᾷ. ,.. 


παντελῶς ἀσθενὴς καὶ τεθνηκὼς καὶ ἄπνους. 


CLASSIFICATION AND DEFINITION 21 


ὑπονυστάζειν, L. dormitare. A writer who occasionally lapses from his 
usual excellence is sometimes conceived as nodding or napping. The best 
known passage is Horace’s criticism of Homer, A. P. 359: “Ht idem indignor 
quandoque bonus dormitat Homerus.” Pope, however (Essay on Criticism), 
tells us, “Nor is it Homer nods, but we that dream.” Cicero claims that 
Demosthenes occasionally “snoozes;” cf. Plut. Cic. 24. So Quint. 10, 1, 24: 
*“ Ciceroni dormitare interim Demosthenes, Horatio vero etiam Homerus ipse 
videatur.” So12,1,22. See Longin. (33, 4) on this topic. 

κατασκελετεύειν, lit. fo reduce to a skeleton. Pass. to be robbed of flesh 
and blood. Isoc. 15, 268. Longin.2,1: ‘Works of nature are made worse 
and feebler, when wizened by the rules of art.” (Rob.) κατασκελής, Dion. H. de 
1806. chap. 2. So Quint. Proem. 24 and Taine, of Tillotson: “What a style! 
It is a skeleton with all its joints coarsely displayed.” 

Sacirys, lit. shaggy, covered with hair. In Gram. roughness, aspiration. 
L. asperitas. Arist.down. Adj. δασύς. Opp. is Ψψιλότης and ψιλός, lit. bald. 
Smoothness. lL. lenitas, lenis. In Gram. of smooth breathing. ψιλὸς λόγος, 
bare, unadorned prose, as opposed to poetry, clothed in meter, Arist. Rhet. 3, 
2,3. Pl. Menex. 239 C. 

ἐξασθενεῖν, of physical weakness. Of composition, to fail in strength or 
vigor. lL. deficere, adj. enervatus. Demet. de El. 50; ibid. τὸ ἀσθενές. Diod. 
20, 78. 

παχύς, of large, stout bodies, of fat persons, opp. to ἰσχνός. Arist. Politica, 
3, 2, 1, παχέως ὁρίζεσθαι, to define roughly. Dion. H. Ep. ad Pomp. 2, p. 759, 
coarse, heavy, of Plato’s language when he uses unusual phraseology and 
embellishments. Dion. H. de Isaeo19. τὸ παχύ tends to frigidity. Hermog. 
and Rhetors. Cic. Or. 8,25; “opimum quoddam et tamquam adipatae dic- 
tionis genus.” So Aul. Gel. 17, 10, opima and pinguis. Cic. Arch. 10, 26. Cf. 
Jonson Timber p. 65: “We say it is a fleshy style, carnosa, when there is 
much periphrasis and circuit of words; and when with more than enough it 
grows fat and corpulent, adipata, redundans; arvina orationis, full of suet 
and tallow.” 

κολοβός, lit. docked, curtailed, mutilated. L. curtus, mutilatus. Arist. 
Rhet. 3, 8, of periods. 

κωφός, lit. dumb, mute. L. mutus. Demet. de El. 68, σύνθεσις κωφή, of a 
composition lacking in euphony. 

ξηρός, lit. dry. Of bodily condition, Eur. El. 239. Arid. (Rob. suggests 
dry, bloodless, sapless, lifeless, bald, jejune.) L. aridus, siccus, ieiunus, 
exsanguis. Isoc. Tech. Fr.6. Demet. passim. ξηρότης, Longin. 3,3. ὁ 

χωλός, lit. lame in feet, halting. L. clauwdus. Demet. de El. 301, “ Hip- 
ponax, wishing to abuse his enemies, shattered his verse and made it limp, 
ἐποίησεν χωλόν." Cf. χωλίαμβος, L. choliambus, scazon. Demet.18. Cf. Ascham 
3, p. 251: “Carmen hexametrum doth rather trot and hobble than run 
smoothly in our English tongue.” English is rich in terms taken from 
impeded bodily progression to denote defects in the movement of language 
or verse. E. g., club-footed, creeping, dragging, floundering, halting, hob- 
bling, lame, limping, lumbering, jog-trot, rambling, shuffling. For opposites, 
cf. leaping, nimble, skipping, sprightly, vaulting. 


22 METAPHORICAL TERMINOLOGY OF GREEK RHETORIO 


Dress, Toilet, etc—The literary critics and rhetoricians often 
regard style as a person who is decked out in seemly or unseemly 
garb, or who has made use of all the resources of the toilet-table. 
The investiture of words should be a becoming one, however, and 
not effeminate and luxurious, as Quintilian warns us in 8, Proem. 
20. So, also, Dion. H. de Dem. 18, p. 1008: “Just as there is a 
becoming raiment for the person so there is an appropriate 
expression for thoughts.” 


κόσμος, ornament, embellishment, dress. L. mundus, ornatus, is often 
applied to the ornaments of speech. See Causeret, p. 172. Isoc. 9, 9 says: 
“To the poets there are given πολλοὶ κόσμοι and these may be ξένοι, καινοί, μετα- 
φοραί or any other embellishments.” κόσμος is almost a technical term in Arist., 
cf. Poetics 21,2; 22, 3, and 22, 10, “κόσμος is appropriate to prose as well as 
verse.” Rhet. 3,7, ““κόσμος is not to be added to a mean word as Cleophon 


A) 


does; 6. g., πότνια συκῆ." Verb κοσμεῖν in Arist. Rhet. 3, 2, λέξις κεκοσμημένη is 


opposed to λ. ταπεινή. Cf. Isoc. 5,27; 9,5; 9,9; 9,76; Hp. 9,5. Ar. Ran. - 


1027, κοσμήσας ἔργον ἄριστον, i. e., Aisch. Pers. Pl. Apol.1. Demet. de El. 106 
et passim. ἐἔπικοσμεῖν, to adorn, embellish. L. ornare. Demet. de El. 106. 
κομψός, lit. well-groomed, or dressed. Neat, elegant, superfine. Li. comp- 
tus. Cf. Norden, 1, p. 69, “x. zierlich dann tiberhaupt geistreich stammt aus 
der alten Sophistenzeit.” κομψός ΞΞ Τ,.. bellus. Cf. Dion. H. de Dem. 40; Ep. 


ad Pomp. p. 159; de Isoc. 12. Ar. Eq. 18, κομψευριπικῶς, refined Euripidean. : 


κομψεύεσθαι, to adorn language in a charming manner, to embellish. L. 
nitida, comptaque oratione uti. Dion. H. de 1506. 14, p. 564. κομψεία, 
daintiness, elegance. L. elegantia. Pl. Phaedo, 101 C; Demet. de El. 36. 
ἀκόμψευτος, wnadorned, not refined. L. incomptus, unkempt, in disarray. 
Cie. de Or. 1, 234; ad Att. 2,1, 1; Quint. 8, 6,41; Hor. A.P. 446. Cf. Cic. Or. 
23, 78, Oratio compared to a mulier inornata. Dion. H. de Comp. 22. κομψό- 
τῆς, elegance of language. Isoc.12,1; 15,195. μικρόκομψον, tricked out with 
small ornaments, finical. lL. bellulum. Cf. Dion. H. de Comp. 

τὸ εὔζωνον, lit. well-girdled, is a term taken from dress. Of style, graceful 
slenderness. Hermog. π. ἰδ. (Sp. 2, pp. 286 and 290). In this style, μέγεθος is 
lacking, hence it may be almost synonymous with τὸ εὐτελές. 


μυροθήκιον. Cic. says (ad Att. 2,1, 1) that he lavished on a Greek version 


of the story of his consulship totum Isocrati μυροθήκιον, atque omnes eius dis- 
cipulorum arculas, all the fragrant essences of Isoc. and all the little perfume- 
boxes of his pupils. 

καλλωπίζεσθαι, lit. to make the face beautiful. Of language, to elaborate, 
to polish and adorn. Dion. H. de Dem. 18, p. 1008, διὰ τῶν θεατρικῶν σχημά- 
τῶν καλλωπίζειν τὸν λόγον. Hermog. καλλωπίσματα, adornments. L. mundus 
orationis. Dion. H. de Thuc. 46, p. 928, 

περιβολή and περιβάλλειν are metaphorical terms derived from dress. In 
Isoc. 5,16 ἡ π. rod λόγου, “the compass of the matter,” the sense is perhaps 
rather from περιβάλλειν, to inclose, but in Philostr. V. Soph. (511) περιβολή is 
equivalent to L. amictus, dress, τὸ. . . . δικανικὸν σοφιστικῇ περιβολῇ ἐκόσμησεν. 
In Hermog. π. ἰδ. 1, chap. 11, 7. = amplification. 


—— ee ΕἾἾΣ 


ΟἸΑΒΒΙΒΙΟΑΤΙΟΝ AND DEFINITION 23 


κολπώδης, diffuse. L. sinwosus. Of discourse, Dion. H. de Dem. 18, p. 
1007. The metaphor is probably from puffed out and flowing vesture, as is 
seen from chap. 19, ταῦτα κεκολπωμένα σφίγξαι μᾶλλον ἐνῆν, “the drooping folds 
might have been pinned up more neatly.” (Jebb.) 

Boorpux ifev and κτενίζειν are two interesting terms found in Dion. H. de 
Comp. 25, ὁ δὲ Πλάτων τοὺς ἑαυτοῦ διαλόγους κτενίζων καὶ βοστρυχίζων, Plato, comb- 
ing and curling his dialogues. 8., lit. to curl or dress the hair, hence οὗ lan- 
guage, to adorn, elaborate. κτενίζειν, to comb, to devote an excess of care and 
attention to composition. Cf. Cic. Or. 23, 78, calamistri, lit. curling-irons, i.e., 
rhetorical adornment. Also Brut. 262; Tac. Dial.26. Cincinni, de Or. 3, 25, 
100. Quint. 8, Proem. 22, protests against eloquence employing the manicure 
and hairdresser. 


A few words of miscellaneous origin applied to literary embellishments 
are κώδων, lit. a bell on the trappings of a horse; of style, excessive ornamenta- 
tion, jingling. L. tintinnabula. So Tac. Dial. 26, tinnitus, jingling style. 
See Longin. 23,4. Cf. κρόταλον, castanet, of a talkative fellow, Ar. Nwb. 259. 
Ibid. 448. ῥωπικός, ῥῶπος, petty wares. τὸ ῥωπικόν, Longin. 3, 4 is, in style, the 
tawdry, cheap gloss, trumpery ornamentation. Cf. also Plut. and Polybius. 
The following English terms designate over-adornment or embellishment ; 
gaudy, painted, tawdry, tinsel, finery, over-jeweled, high-colored, brocaded, 
embroidered, gloss, jingle. This style is well described by Pope, Essay on 
Criticism, 298 : 

“ Poets, like painters, thus, unskilled to trace 
The naked nature, and the living grace, 
With gold and jewels cover evr’y part, 

And hide with ornaments their want of art.” 


3. ATHLETICS, WAR, AND THE SEA 


_ Athletics.—When we consider the importance and prominence 
of athletics and war in the training and life of the Greeks, we 
should not be surprised to find even more terms than we do from 
this source, as the orator is frequently compared to a fighter or 
wrestler. Ὁ 


ἀθλητής, L. athleta. Lit. a combatant, fighter, and then one who is well- 
versed, practiced, or master of a subject, e. g., rhetoric. Dion. H. de 306. 11, 
τῆς κατασκευῆς ἀθλητὴν ἰσχυρότερον, as a master of elaboration Isoc. is superior 
to Lysias. Jd. de Dem. 18, ἀθληταὶ τῆς ἀληθινῆς λέξεως. 

ἀγωνιστής, a fighter, combatant in political and judicial contests. Isoc. 
13, 15; Pl. Phaedr. 269 D, ἀγωνιστὴς τέλεος, Dion. H.. ad Amm. 1, 2, ἀγωνισταὶ 
λόγων ῥητορικῶν. Id. de Isaeo 20, says of Antiphon, ἀγωνιστὴς δὲ λόγων οὔτε 
συμβουλευτικῶν οὔτε δικανικῶν ἐστι. ἀγών, contest in assembly or law-court and 
the speech delivered in these places. L. certamen, contentio. Dion. H. ad 
Amm. 1, 2 (Ὁ. 721) of Demosth. orations, et pussim. ἀγωνιστική (λέξις) is the 
controversial style used by speakers in political and judicial contests. L. 
genus dicendi contentiosum, opposed to the γραφικὴ λέξις in Arist. Rhet. 3, 12, 1. 


24 METAPHORICAL TERMINOLOGY OF GREEK RHETORIC 


ἐναγώνιος (Adyos), a speech in a contest of a controversial character. lL. con- 
tentionibus aptum dicendi genus. Dion. H. de Isaeo 20; de Thue. 23; de 
Dem.18. On τὸ ἐναγώνιον, the art of grappling, see Jebb. 2, p. 305. ἀγωνίζεσθαι, 
Alcid. rept σοφιστῶν 25, rots μετὰ τῶν γραπτῶν ἀγωνιζομένοις λόγων. 

προγυμνάσματα, lit. preparations for war (Ath. 631 A); in Rhetoric, pre- 
liminary exercises for training youths. L. exercitationes. Hermogenes was 
one of the numerous writers of προγυμνάσματα. . 

Wrestling gives us the following terms: παλαίστρα, lit. a wrestling 


school. Met. of the School of Socrates, Longin. 4, 4. So the L. ludus, a — 


training-school for children and gladiators, was used of orators; cf. Cic. de 
Or. 2, 94 of the school of Isocrates. πάλαισμα, a bout at wrestling. Ar. Ran. 
878, παλαίσματα = lists, of the poetical contest between Atschylus and Hurip- 
ides. Ibid. 689, 7. = tricks. π. δικαστηρίου, trick of the court-room, Aaschin. 
83, 16, legal contest, = contentio. Hermog.: 7. μεθ. Serv. τὸ εὐπάλαιστρον, 
Longin. 34, 2, of Hypereides, skill in contests of irony. λαβή and ἁφή, a grip 
or hold, of pugilists and wrestlers, grasp, hence oratorical power and strength. 
Dion. H. de Dem. 18. λαβή, ibid. 20. ἁφή, de Lys. 13. προεξαγκωνίζειν, of 
boxers, to move the arms before fighting. Of beginning a speech with a 
procemium, Arist. Rhet. 3,14. λυγισμοί and στροφαί, twistings and turn- 
ings of wrestlers to avoid a blow or hold. Of Euripides’ sophistical devices, 
Ar. Ran. 775. 

εὔστοχος, hitting the mark, aiming well, is from archery or javelin-throw- 
ing. Of Hypereides, Dion. H.’Apx. Kp. 5,6. In Diog. L. 6, 74, ready at repartee, 
of Diogenes Cyn. So εὔθικτος, εὖὔθ. προοίμια, Hermog. π. εὑρ. 1, 2. 

θηρᾶν, to hunt, pursue, aim for, is a term from hunting. L. venari. Ar. 
Nub. 358, θηρατὰ λόγων φιλομούσων. Dion. H. de Dem. 40, τὴν εὐφωνίαν θηρωμένη. 
Ath. 3,122 C. Cicero is fond of the term aucupor, lit. to snare or trap birds. 
Cf. Or. 19, 63; de Or. 2, 30, of Rhetoric. 

περίπατος, lit. a walking-about. The beginning of its metaphorical use as 
a rhetorical term, meaning a discourse during a walk, then simply argumenta- 
tion or disquisition, L. disputatio, is seen in Ar. Ran. 953: τοῦτο μὲν ἔασον, ὦ 
τᾶν" οὐ σοὶ γάρ ἐστι περίπατος κάλλιστα περί ye τούτου. π΄. = διατριβή according to 
the Scholiast. Both the primary and transferred meanings are seen in the 
use of the word in Ran. 942. Later οἱ ἐκ τοῦ περιπάτου is the designation of the 
Peripatetics, school of Aristotle. Περίπατον ποιεῖσθαι λόγων, Introd. to 2 Mac- 
cabees (B. II, 30). Cf. Philologus, Band LXIII, Heft I, p. 7, Radermacher. 
Verb περιπατεῖν, lit. to walk up and down, then to walk about while teaching. 
Pl. Ep. 348 C; Diog. L. 7, 109; then simply, to discourse. 


War— 

καταστρατηγεῖν, of an orator, Dion. H. de Isaeo 3, x. rods δικαστάς, κατα- 
τρέχειν, lit. to run down, to ravage, lay waste. Of a speaker, Pl. Legg. 806 C. 
Cf. ἐπιτρέχειν, ἐπιτροχάζειν, ἐπιτρόχαλος, ἐπιτροχάδην, which have the meaning, 
to run lightly over, to touch lightly on a subject, to treat cursorily. L. 
negligenter narrare. καταδρομή, an invasion, inroad, is an oratorical assault, 
an invective. L. impetus, vehementia. Auschin. 1, 135; Pl. Rep. 472 A; Dion. 
H., etc. So καταθεῖν, Pl. Theaet. 171 C. ἐμβολή, assault, attack, of an orator, 
Longin. 20, 3. 


aS eee ee ree ἐν 


CLASSIFICATION AND DEFINITION . 25 


ἐκδρομή, a sally, charge. In speaking, a digression. L. digressio. Cf. 
also παρεκδρομή, ἐκβολή. 

εὐσταλής, of armies, well-equipped. Also of dress. Demet. de Hl. 14, of 
the old method in writing, clean-cut. L. succinctus. 

τάξις, lit. the order or disposition of troops or an army. In Rhet. ἡ τοῦ 
λόγου τάξις, as opposed to its matter, order. L. ordo, dispositio orationis; die 
oratorische Taktik (Ern.). Alcid. περὶ σοφιστῶν, 33. Isoc. Arist. Rhet. 3, 12. 
Longin. 20,3; Auschin. 3, 205; Dem. 226,11. ἀταξία οἰκονομίας, Dion. H. ’Apx. 
Kp. 3,2. Quint. 2, 13 (3, 4 and 5) gives an elaborate comparison between the 
disposition of an army and that of discourse and the analogous duties of 
general and orator. 

πεΐός, lit. on foot, as opposed to a horseman. Met. of language, in prose, 
prosaic, pedestrian. L.oratio pedestris. Pl. Soph. 237 A, πεζῇ re ὧδε ἑκάστοτε 
λέγων καὶ μετὰ μέτρων. Luc. Hist. Conscr. 8, πεζή τις ποιητική, οὗ bombastic his- 
tory. Demet. de ΕἸ. 90, 93, 161; Dion. Η. αα Amm. 2,2. Quint. 10,1, 81. Cf. 
Hor. Sat. 2, 6,17, where Palmer says: “the metaphor is from a person soberly 
jogging along on foot contrasted with the dashing pace of a mounted cavalier.” 
The truth of this is shown by some examples given by Norden (1, p. 33): In 
Lucian (Demosth. Encom. 5) Dem. champion says to the defender of Homer: 
“Tt is clear that you are considering poetry only, and despise rhetorical dis- 
courses precisely as the knight riding with infantry.” So Aristides, Or. 8 
(Vol. I, p. 84, Dind.): “It is more natural for a man to use prose, πεζῷ Adyy, 
just as to walk, I think, is more natural than to ride.” _ 

ἡνία, reins, L. habenae orationis. Pl. Protag. 338 A, χαλάσαι τὰς ἡνίας τοῖς 
λόγοις. Philostr. V. Soph. 2, p. 570, gives an interesting figure: “Alexander’s 
fingers were long and well suited to handle the reins of discourse.” 

χαλινός, bridle, bit. L. freni. The curbing bit is a very frequent figure 
in Greek and Latin. It is particularly common as applied to orators and 
eloquence. Suidas (s. v. “Edopos) tells us that Isocrates said that “Theo- 
pompus needs the bit, but Ephorus the spur.” This statement is found in 
Cic. de Or. 3, 9, 36; Brut. 204; ad Att. 6,1, 12; Quint. 2, 8,11; 10,1, 74. Cf. 
Diog. L. 5, 39. Cf. Plin. Ep. 9, 26, 7, “laxandos esse eloquentiae frenos.” 
Longin. 2, 2 says of the sublime, “that it often needs the spur, κέντρον, but 
often, too, the curb, χαλινός. ἀχάλινος, unbridled, uncurbed. Ar. Ran. 837, 
the ax. στόμα of Atschylus. Eur. Bacch. 385, 

κέντρον, spur, goad. L. calcar, aculeus. In style is sting, incisiveness, 
pungency; so ὀξύτης and rou}. Philostr. V. Soph. p.511. Lucian, Demosth. 
Encom. 20, attributes to Pericles πειθοῦς τι κέντρον. So Eupolis Fr. 94. (Kock). 
ἄκεντρον, pointless, devoid of force. Longin. 21, 1. 

The tongue or the keen thought expressed by it may be considered a 
sharp, pointed weapon, or instrument which does execution by its incisiveness. 
So in Aristophanes (Nub. 1160) Strepsiades comically speaks of his son ἀμφήκει 
γλώττῃ λάμπων. So ibid. 321, Strepsiades’ soul longs to prick or puncture 
acute opinion with opinion. So the L. pungere or compungere. Cf. Cic. de 
Fin. 4, 3, 7. 

τμητικός, lit. cutting. Met. trenchant, incisive, concise. Dion. H. de 
Dem. 58, Dem. uses τῇ τμητικῇ βραχυλογίᾳ. τμ. τύπος, Hermog. Anon. (Sp. Rh. 
Gr. 3, p. 139) has a chapter περὶ τμητικοῦ σχήματος. roph, conciseness, Kunap. 


26 METAPHORICAL TERMINOLOGY OF GREEK RHETORIO 


19, 3 (Didot ed., p. 461), and συντομία, conciseness, L. succincta brevitas and 
concisus are common from Isoc. and Aristotle down. On the other hand, the 
point or edge of a sentence or thought, like that of a weapon, may be dulled 
or blunted; so ἀμβλύνειν, to blunt, dull, take the edge off. L. obtundere, 
hebetare. Demet. de El. 249. 


The Sea.— Greek life and history without the sea and naviga- 


tion can scarcely be imagined. The literature abounds in allusions 


to and figures from this source. Yet critical terms of nautical 
origin are few. Among the Roman critics Quintilian, Praef. ad 
Tryph. 3, speaks of “giving sail to the winds and praying 
success as we loose the cable.” Id. 7, Proem. 3: ‘Speech lacking 
in disposttio is confused and floats like a ship without a helmsman.” 


χειμάζεσθαι, lit. to be storm-tossed, esp. on the sea. Of an embarrassed or 
labored style, Pl. Phileb. 29 B; Dion. H. Ep. ad Pomp., p. 760. 

ἐποκέλλειν, lit. of a ship, to run ashore, aground. Longin. 3, 4 of writers 
who run aground on the tawdry and affected. This word, or rather ἐξοκέλλειν, 
is frequently used figuratively; cf. Isoc. Ep. 2, 13 drifting into a long dis- 
course. Jd. 15, 268; 7, 18. 


4, Youtu, OLp AGE, AND SEX 


Youthful qualities in style may add spirit and force, but for 


the most part contribute undesirable and injurious elements, viz., 
over-elaboration or tawdry ornamentation, causing frigidity or 
injudicious innovations the reverse of elevation. 


μειρακιώδης, youthful. Of style, puerile, affected, foppish, sophomoric. 
L. puerilis. From Arist. Rhet. 3,11 (where it does not have an invidious sense) 
down. Cf. Norden, 1, pp. 69, 70. νεανικός, τὸ νεανικόν may imply either praise 
or blame. Cf. veapés. τὸ παιδαριῶδες, childishness, puerility. Τὰ. puerilis 
affectatio. Longin. 4,1. Dion. H.ad Pomp., p. 787. παιδιώδης, of Theopompus’ 
childish digressions. 

κόρυζα, lit. running at the nose. Met. driveling. Pl. Rep. 343 A. Polyb. 
and Luc. 

The characteristics of old age as well as those of youth may cause faults 
which are to be condemned. As Demet. de El. 7 says, οἱ γέροντες μακρολόγοι διὰ 
τὴν ἀσθένειαν. τὸ πρεσβυτικόν, L. senile dicendi genus, is characterized by 
slowness and prolixity. Isocrates was a favorite example; cf. Hermog. π. ἰδ. 
2 (Sp. 2, p. 412). 

Terms denoting sex which are used in criticism are: ἀνδρώδης, virile, 
masculine. L. virilis, validus; cf. Quint. 5,12. The opposite term, feminine, 
effeminate, which is very common in Latin, effeminatus, and in English, is 
apparently not used in Greek criticism to denote weaknesses and faults of 
style. 

παρθενωπός, of maiden aspect, hence soft, charming. L. venustus, mollis. 
Dion. H. de Comp. 23, π. ὀνόματα. 


<— ΝΣ. οὐ εν eS ee ee eee 


2OrIQryryk YET T ΤΩΙ Τὴ rTRPP aww 
BOSt UN RW Be ld I yay. as it 


thats dbnind ko. 


‘ YOY EN ΦΩΥΥΑῚ TY ny ἢ ἈΦ’ ἃ εἰ εν 
CHESTNUT HIL u. MASS 


OLASSIFICATION AND DEFINITION 27 


5. ΒΟΟΙΑΙ, STAtTus 


A number of critical terms will be defined under this heading 
which have their origin in the rank, occupation or financial con- 
dition of members of society. With a few exceptions the terms 
designate mean qualities of style. 

The opposition of the rustic or boorish and the urbane or 
elegant is a time-honored one. So in style we have: 


ἄγροικος, lit. of the country, then boorish, rude, rough. L. rusticus, 
agrestis. Dion. H. de Dem. 57, p. 1126, φορτικαὶ καὶ ἄγροικοι κατασκευαί, For 
φορτικός, mean, low, vulgar, banal, inflated, see Isoc. 238 A and 150 Ὁ. Arist. 
Rhet. 2, 21, 15. 

ἀστεῖος, lit. of the town or city, hence polite, elegant, “smart.” L. urbanus. 
Arist. Rhet. 3,10,1, τὰ ἀστεῖα are clever, witty, pointed sayings, τὰ εὐδοκιμοῦντα 
he calls them; metaphor, antithesis and vividness are helpful tothem. Rhet. 
ad Alex. chap. 22. In general, nice, pretty, witty language, “smart sayings” as 
in Ar. Ran. 901; Nub. 204. ἀστεισμός, witticism. L. urbanitas = facetiae. 
The word is late. Demet. de El. 128, 130; Long. 34, 2; Dion. H. de Dem. 54; 
Philostr. 540. Cf. Gerber 2, p. 320. Verb, ἀστείξεσθαι. Quint. 6, 3,17 defines 
urbanitas as follows: “Nam et urbanitas dicitur, qua quidem significari 
_ video sermonem praeferentem in verbis et sono et usu proprium quendam 
gustum urbis et sumptam ex conversatione doctorum tacitam eruditionem, 
denique cui contraria sit rusticitas.” 

δημώδης, of the common people. Of diction, style, vulgar, commonplace, 
trite, plebeian. L. oratio trita, vulgaris. Longin. 40, 2. δημοτικὰ ὀνόματα, 
Luc. Hist. Conscr. 22. ἰδιώτης, of common rank. Dion. H. de Lys. 3, p. 457, 
ἰδ, φράσις, plain, ordinary. L. vulgaris ratio dicendi. Longin. 31, 2. ἰδιωτισμός, 
commonplace, homely language. Longin. 31; Diog. L. 7, 59. 

ταπεινός Often of low, mean rank. Of style, low, mean. L. humilis, exilis. 
Alcid. περὶ σοφιστῶν, 19. Freq.in Arist., cf. Poetics 22,1, λέξεως δὲ ἀρετὴ σαφῆ 
kal μὴ ταπεινὴν εἶναι. Hor. A. P. 229, humili sermone. Quint. 10, 1, 9, humilia 
verba, vulgaria. Id. 11,1, 6, humile et cotidianum sermonis genus. 

ἀγοραῖος, lit. of the market ; ἀγοραῖοι = the market-loafers, circumforanet, 
low class. Ar. Ran. 1015; Pl. Protag. 347 C. Dion. H. Art. Rhet. 10, 11, 
ἀγοραίως λέγειν, to use vulgar, commonplace words. L. vulgaribus verbis uti. 
Luc. Hist. Conscr. 44: “The first aim is to reveal and make clear the matter 
μήτε Tots ἀγοραίοις καὶ καπηλικοῖς ὀνόμασι." ἀγοραῖος is sometimes equivalent to 
δικανικός, however, as in Philostr. V. Soph. 2, p. 570, ἀγοραῖοι λόγοι are forensic 
speeches. καπηλικός, lit. of a huckster; of words and style, vulgar, common- 
place. 

βάναυσος, lit. working by the fire, of mechanics or artisans, a despised 
vulgar class; so of language or style, vulgarity, triviality, or bad taste. 
Plutarch. 

στρατιωτικός, of the military class, like a rough soldier, so vulgar, rough, 
rude. L. militaris. Dion. H. de Lys. 12 of speeches of Iphicrates. 


28 METAPHORICAL TERMINOLOGY OF GREEK RHETORIC 


ἔκφυλος, lit. out of the tribe, alien, foreign, L. alienus, has the idea of 
loss of caste. Longin. 15, 8 δειναὶ καὶ ἔκφυλοι παραβάσεις: Luc. Leawiph. 24; 
Philostr. V. Soph. 2, p. 578. 

εὐγένεια, nobility of birth, nobility of speech or style. L. nobilitas. Longin. 
34,2 of Hypereides. Phot. Bibl. 77. Ael. N. A. Epilogus, τὸ εὐγενὲς τῆς λέξεως. 

πτωχός, beggarly, poor. Commonplace. L. humilis. Dion. H. de Comp. 
4, 38, π. νοήματα. Opp. term is πλούσιος, rich, of financial condition. Of style, 
rich, opulent, lofty, dignified, L. opulentus, opp. to πτωχός. Dion. H. de 
Comp. 4,38. 


6. TastE 


Some very striking critical terms were suggested by the 
sense of taste. Certain qualities of style, such as freshness and 
charm of subject-matter, beauty of diction, euphony in compo- 
sition, give the hearer or reader a feeling akin to sensuous grati- 
fication. So, too, the absence of these pleasing qualities or the 
presence of disagreeable elements produce on the minds of reader 
or listener an effect comparable to that of insipid or disgusting 
food or drink on the organs of taste. 


ἀγλευκής, lit. sour,as of wine. In a writer, lack of Ὑλυκύτης, sweetness and 


charm. Hermog. 7. ἰδ. 1, chap. 12 (Sp. 2, p. 330); ibid. of Thuc. (Sp. 2, p. 423), ἡ 


ἀγλευκής ἐστι σχεδὸν διόλου. So ἀηδής, lit. unpleasant to taste (cf. Pl. Legg. 
660 A), of style, lack of charm, dreariness. Dion. H. Ep. ad Pomp. 2, p. 766: 
“In Plato τὸ ὕψος τῆς λέξεως sometimes falls εἰς τὸ κενὸν καὶ andés.”’ 

αὐστηρός, lit. bitter, harsh to the tongue, as of water, wine. A favorite 
critical term of Dion. H. Austere, stern. L. severus. Dion. H. de Comp. 
chap. 22, av. ἁρμονία, severe, dignified mode of composition. Id. de Isaeo, 
chap. 20, Antiphon has only τὸ αὐστηρὸν καί ἀρχαῖον. Ad Amm. 2,2; de Dem. 8 
and 48. 

δριμύτης, δριμύς, lit. of taste, bitter, acrid, pungent. Of style, tartness, 
pungency. L. acrimonia. Arist. Soph. Elench. 33, 5, δριμύτατος λόγος. ΑΒ a 
technical critical term it seems to be late, however. Hermog. 7. ἰδ. 2, chap. 5, 
dp. contributes to ῆθος. Cf. ibid. the synonym ὀξύτης (lit. acidity, pungency), 
keenness. ; 

πικρός, of taste, sharp, pungent, bitter. Of style, pungent, bitter. L. 
amarus. Dion. H. Ep. ad Pomp. p. T75. πικρότης and τὸ πικρόν, pungency, 
incisiveness, sting. L. amaritudo, acerbitas; cf. also sales. Frequent in 
Dion. H., 6. g. de Thuc. chap. 53, of style of Antiphon. πικραίνειν, to be 
repellent in composition. Dion. H.'de Dem. 34, p. 1061. 

σκληρός, of taste and smell, harsh and unpleasant. L. durus. Arist. 
Rhet. 3, 7, ὀνόματα σκληρά. Of style, Dion. H. ad Pomp. p. 760. 

στρυφνότης and τὸ στρυφνόν, lit. bitter, astringent, of sour fruit. L. aeri- 
monia. A favorite word of Dion. H.; cf. de Thuc. chap. 53, on which Jebb, 
Att. Or. 1, 35, says: “Dionysius adds τὸ στρυφνόν, which seems to be a meta- 
phor of the same kind as αὐστηρόν, and to mean his biting flavor.” Cf. de 


ee μου νυδυν»νσμμα μεν ιν υμννδονν νμμνδυνδωνκ  μα, κι ν͵ν- μυννν. χων ΜΝ. νον 5. τὰ ὐπὸ κ Φνώ 


CLASSIFICATION AND DEFINITION 29 


Dem. 34; de Comp. 22. Cf. στριφνός in ad Amm. 2, p. 793, of Thuc., where 
Roberts says, “orpipvds = firm, solid, of the close texture of language. But it 
may be doubted whether in this and similar passages στρυφνός is not the right 
reading.” Of similar meaning is κάρχαρος, lit. of teeth of animals, sharp, 
jagged. Of style and criticism, biting, keen; Luc. Hist. Conser. 43, Ath. 251 E. 

γλυκύτης, lit. sweetness of taste. Of style, sweetness, charm. L. suavitas. 
Pliny, Hp. 5, 8,10. Dion. H. de Comp. 11, γλ. τῆς λέξεως. Hermog. 7. ἰδ. 2, chap. 
4, makes yi. contribute to ἦθος and the use of myths help to yi. τῆς λέξεως. So 
yh. is a characteristic feature of style of Herod. Also of Xen., cf. Diog. L. 2, 
57. Adj. γλυκύς = dulcis; cf. Quint. 10, 1, 73, dulcis Herodotus. 

ἡδονή, lit. pleasure, delight. Freq. of pleasure in eating and drinking. 
Of style, charm, the agreeable. L. iucunditas, voluptas, defined by Dion. H. 
de Comp. 11, as possessing ὥραν, freshness; χάριν, grace; εὐστομίαν, euphony ; 
γλυκύτητα, sweetness; τὸ πιθανόν, persuasiveness. Freq. in Demetrius. 

pedtx pds, lit. honey-sweet, of wine and fruit, then of speech. Cf. 71]. 1, 
248, 249, Nestor’s speech, sweeter than honey. Dion. H. de Comp.1; Philostr. 
V. Soph. p. 522. Cic. Or. 9, 32, Xenophon’s sermo, melle dulcior. 


Closely related to the subject of taste just considered are a few 
very expressive terms taken from the seasoning of food and the 
culinary art. <A favorite Latin term is sal, sales, salsum, lit. salt, 
seasoning, relish, trop. the salt of wit, witticism, facetiousness, 
etc. The Attic salt was proverbial. ‘“ Sprinkled, seasoned (asper- 
gere, spargere, perspergere) with the salt of wit” is a metaphor 
in Cie. Or. 87; de Or. 1, 159; ad Ait. 1,18,1. Cf. Dryden, 13, 
Ρ. 88, of Horace: ‘‘ His wit is faint and his salt... . almost 
insipid.” 

ἡδύνειν, lit. to sweeten, season, flavor. Arist. Poetics 6, 3, ἡδυσμένον λόγον, 
embellished language, i. 6., ἔχοντα ῥυθμὸν καὶ ἁρμονίαν καὶ μέλος. Tbid. 24, 38. 
Cf. Pl. Rep. 607 A; Sophist. 223 A. ἐφηδύνειν, lit. to sweeten, give a relish to. 
Used met. by Plut. Longin. 15, 6; 34, 2. The Latin equivalent for the 
two words defined above is condire; cf. Cic. Or. 185: “Omnino duo sunt, 
quae condiant (give a flavor to) orationem.” ἥδυσμα, lit. in cookery, relish, 
seasoning; met. of style, embellishment, piquant charm. L. condimentum. 
Arist. Rhet. 3, 3, 3 of Alcidamas, the orator, οὐ yap ἡδύσματι χρῆται, ἀλλ᾽ ὡς 
ἐδέσματι τοῖς ἐπιθέτοις. Id. Poetics 6 (1450b), ἡ μελοποιία is the most important of 
the embellishments, μέγιστον τῶν ἡδυσμάτων. Dion. H. de Thuc. 23, p. 864. Phot. 


τραγήματα, sweetmeats, dessert. L. bellaria. Dion. H. Art. Rhet. 10, 18, 
ἡγοῦνται τοὺς ἐπιλόγους, ὥσπερ ἐν δείπνῳ, τραγήματα εἶναι τῶν λόγων. 


7. ΕΙΤΙΕΞ AND RELIGION 


᾿Αφροδίτη, grace, charm, attractive beauty of language or style. L. venus- 
tas, decor. So Venus, cf. Hor. A. P.; Quint. Dion. H.deComp.3; Luc. Scyth. 
11, For a definition of ἀφροδίτη καὶ λύρα, see Lowell, Essay on Lessing, Ὁ. 226. 
A synonym is, τὸ ἐπαφρόδιτον, charm, grace = χάρις. L. lepor. Isoc. 10, 65, of 


30 METAPHORICAL TERMINOLOGY OF GREEK RHETORIC 


Homer’s ἐπ. ποίησις. Longin. 34, 2, ἀμίμητον ér., inimitable charm, of the wit 
of Hypereides. Phot. Bibl. T9, τὸ γλαφυρὸν καὶ ἐπαφρόδιτον. 

Σειρήν, Siren, charm of persuasion and eloquence. L. venustas. Atschin. 
3, 228; Dion. H. de Dem. 35. Sculptured figures of Sirens were frequently set 
up as embodiments of eloquence and persuasion as monuments on the tombs 
of orators and poets. Several such sculptures are in the National Museum 
at Athens. 


Just as Aphrodite or the Sirens seem to be present in speech 
exerting their charming influence, so Bacchus, or a divine inspira- 
tion apparently coming from him, arouses speaker or writer to a 
passionate fury with a result sometimes good, sometimes bad. 


βακχεία, frenzy, furor, madness. L. furor dicendi. Longin. 32, 7 
attributes this to Plato in his frequent excessive use of tropes. Jd. 16, 4, 
βακχεύματα of agitated state of mind of orator. παράβακχος, of an orator pos- 
sessed of a frenzied vehemence. L. bacchari. Plut. Dem.9. Cf. also Philostr. 
V. Soph. 511, of Nicetes, ὑπόβακχος δὲ καὶ διθυραμβώδης. παρένθυρσος, misplaced 
or exaggerated passion, Longin. 3, 5. 

pavia, L. furor. Poets especially, “with eyes in a fine frenzy rolling,” are 
often regarded as being mad, possessed, or supernaturally inspired. This 
idea begins in Homer, Od. 8, 499 and 22, 347. Arist. Poeties 17,2 says that 
“Poetry implies either a happy gift of nature or a strain of madness —in the 
latter case, he is lifted out of his proper self.” (Butcher.) So Plato, Apol. 7; 
Ton 533 Εἰ and 534 C; Phaedrus, p. 245; Legg. 4, 719. In Roman writers, 
Cic. de Or. 46, 194; de Div. 1, 34; Hor. A. P. 296. 

ἐνθουσιάζειν, of a writer or speaker, to be divinely inspired. In Pl. Phaedr. 
241 ἘΣ, Socrates says, ap’ οἶσθ᾽, ὅτι ὑπὸ τῶν Νυμφῶν, ... . σαφῶς évOoverdow; 50 
ibid. 238 D. Soc. jestingly predicts that as the discussion proceeds he may 
often become νυμφόληπτος, caught by the Nymphs, i. e., in a state of rapture 
or inspiration. 

φοιβόληπτος, Longin. 16,2 speaks thus of Demosth. when he uttered his 
celebrated oath, μὰ τοὺς ἐν Μαραθῶνι κτλ. (de Cor. 208) as being divinely inspired 
and, as it were, frenzied by the god of Prophecy. φοιβάζειν, to fill with frenzy, 
cf. Longin. 8, 4. 

κορυβαντιᾶν, lit. to be filled with Corybantic frenzy. Longin. 5,1, to be 
crazy for novelties in literature. κορύβος, enthusiasm. Luc. Hist. Conscr. 
45, 6 τῆς ποιητικῆς κ. 

τυμπανίζειν, lit. to beat the drum in religious frenzy; of an orator, to speak 
in a frantic manner and use violent gestures, Philostr. V. Soph. 520. Quint. 
5, 12, 22, tympana eloquentiae. A condition described by Cic. Or. 99: “furere 
apud sanos et quasi inter sobrios bacchari vinulentus videtur.” 

From the magician’s art are: 

γοητεύεσθαι, to bewitch, beguile, spell-bind. Gorgias Helena 14, of λόγοι. 
Pl. Menex. 235 A, of orators γοητεύουσιν ἡμῶν τὰς ψυχάς, Phot. 192. κηλεῖν, to 
charm, bewitch (often by music). L. mulcere, delinire. Of Pericles, Eupol. 
Δῆμ. 6,6; Pl. Menew. 235 A, of Homer’s verses; Protag. 315 A, κηλῶν τῇ φωνῇ 
ὥσπερ ’Oppeds. Dion. H. de Comp. 3. Longin. 30, «κατακηλεῖν τοὺς ἀκούοντας. 


Ee ——————————e ee 


OLASSIFICATION AND DEFINITION 91 


Cf. Od. 11, 334, Odysseus’ listeners, κηληθμῷ δ᾽ ἔσχοντο. Ibid. 13, 2. κήλησις, 
enchantment of eloquence. Pl. Euthyd. 290 A. 

Ψψυχαγωγεῖν, ψυχαγωγία, a winning of men’s souls, of Rhetoric, Pl. Phaedr. 
261 A. Cf. Isoc. 9,11; 2, 49; Arist. Poetics, 6,13; Dem. 1099, 10 and 1364, 8. 


8. THE THEATER AND FESTIVALS 


The language, delivery, and gestures which are appropriate to 
the actor who is interpreting a drama in the theater are not likely 
to be suited to the orator pleading or speaking in court or from 
the bema. In style, also, showy and pretentious qualities are 
faults which are designated theatrical and histrionic in an 
unfavorable sense. In display or epideictic oratory, however, as 
opposed to the more prosaic forensic, some ornamentation and 
even ostentation is legitimate; cf. the terms πομπικός and πομπή. 


θεατρικός, theatrical, showy, pretentious, histrionic. L. theatralis. Dion. 
H. Ep. ad Pomp. p. 759, τὸ κομψὸν θεατρικόν. Ibid., p. 792. Id., de Dem. 18 
(p. 1007), ἀνθηρὰν καὶ θεατρικὴν διάλεκτον. So θυμελικός, lit. of the thymele. Of 
style, theatrical, vulgar. Plut. 853 A, τὸ φορτικὸν ἐν λόγοις καὶ θυμελικὸν καὶ 
βάναυσον. 

ἐπιτραγῳδεῖν, to declaim in tragic fashion, to rant, exaggerate. lL. tragico 
more rem amplificare, exaggerare. Dion. H. de Thuc. 28; Demet. de El. 122. 
τραγῳδεῖν, of orators and writers usually in a disparaging sense, to declaim or 
rant in a pompous, braggart manner. So Dem. 229,18; 400,17. In a good 
sense, cf. Hermog. 7. μεθ. dev. chap. 33 of Demosth. Cf. τραγικῶς. So παρατρα- 
γφῳδεῖν, Plaut. Pseud. 707. waparpdywdos, psewdo-tragic, bombastic, Longin. 3, 1. 

πομπικός, TO πομπικόν. Processional, stately, wmpressive, ceremonial. 
L. magnificentia, splendor. Dion. H. ad Pomp. p. 786, of Theopompus’ dic- 
tion, ὑψηλή τε Kal μεγαλοπρεπὴς καὶ τὸ πομπικὸν ἔχουσα πολύ. So also of Theo- 
pompus’ λέξις in ’Apx. Κρ. 8. Longin. 8, 3, τὰ ἐγκώμια καὶ τὰ πομπικὰ καὶ ἐπιδεικτικά, 
Id. 32,5. Dion. H. ’Apx. Κρ. 5, 2 (of Isoc.), πομπικός ἐστ᾽... οὐ μὴν ἀγωνισ- 
ribs. Id. de Dem. 32. πομπή, pomp, parade. L. pompa. Pl. Ax. 369 Ὁ), 
π. καὶ ῥημάτων ἀγλαισμός. Cf. Sandys on Cic. Or. 42. Cic. de Or. 2, 94; 3,177. 


9, DISPOSITION AND MORALS 


A number of critical terms are defined here which are properly 
used of the disposition, traits of character or the morals. 


αὐθάδης, lit. bold, wilful, presumptuous, of persons. Of style = dignity, 
almost τὸ σεμνόν. Arist. Rhet. 3,3; “unusual γλῶτται have something σεμνὸν 
καὶ αὔθαδες, dignified and haughty.” Dion. H. de Comp. 22 of Thuc., ἀρχαικὸν 
δέ τι Kal αὔθαδες ἐπιδείκνυται κάλλος. 

ἱλαρός, cheerful, gay. Of style, bright, joyous, radiant, genial, pleasant. 
L. hilaris, amoenus. Dion. H. ad Pomp. 777, the ἱλαρὸν κάλλος of Hdt. Demet. 
de El. 128, th. λόγος. τὸ ἱλαρόν = ἱλαρότης = hilaritas. So cf. φαιδρότης, liveli- 
ness, joyousness. L. festivitas, hilaritas. Hermog. π. ἰδ, 


ὃ. ΜΕΤΑΡΗΟΒΙΟΑΙ, TERMINOLOGY OF GREEK RHETORIO 


μεγαλοπρεπής, lit. that which befits a great man, magnificent, sumptuous. 
A virtue which produces grandeur in expenditures. (Arist. Rhet.1, 9.) Of style, 
elevated, stately, grand, magnificent, lofty, dignified, impressive, heightened, 
colored. Li. magnificus. Arist. Rhet. 8, 12, 6. Nota regular t. t. until Dion. 
H. Cf. de Lys. 13, ὑψηλὴ δὲ καὶ μεγαλοπρεπὴς οὐκ ἔστιν ἡ Λυσίου λέξις. In Demet., 
passim, μ. χαρακτήρ is the grand style. 

γοργός, rapid, vehement, vivid, earnest, fiery, nervous. Ὑγοργότης, fiery 
earnestness (Jebb), celeritas orationis (Ern.), Lebhaftigkeit (Volkmann), 
poignancy (Roberts). Treated by Hermog. π. ἰδ. 1. The source of the figure 
is from the grim and fierce expression of the eyes which reveal the fiery 
disposition. 

δεινός, forcible, vigorous, masterly. In Demet. a type of style, 6. χαρακτήρ. 
δεινότης is a general term which includes all the oratorical virtues as found in 
Demosthenes. Roberts suggests mastery, oratorical power, impressiveness, 
nervous force, intensity, skill, resourcefulness. Τὰ. vis et virtus dicendi. 
Dion. H. ad Amm. I, 3. See de Thuc. chap. 23, for a definition and the 
treatise of Hermog. περὶ μεθόδου δεινότητος. The idea of natural cleverness in 
speaking was uppermost before the term became strictly technical. 

σεμνός, grave, dignified, noble, august. Of style, Arist. Poet. 22,1; Rheé. 
3, 3, 3. σεμνότης, gravity, dignity, majesty. L. gravitas, dignitas. σ. τῆς 
λέξεως, Arist. Rhet. 3, 8,4; Hermog. π. ἰδ. 1. 

σφοδρός, σφοδρότης, vehemence, impetuous earnestness. lL. vehementia. 
Hermog. π. ἰδ. 1. 


Just as modesty, temperance, chastity, sobriety, etc., designate 
prized qualities of character in the individual life and character, 
so these terms are transferred in use by literary criticism to indi- 
cate virtues of style and of writers. So, too, the opposite is true 
-as Demetrius (de El. 114) says: “ΔΒ in morals certain bad qual- 
ities exist side by side with certain desirable qualities, so also in 
types of style, the bad exist side by side with the good.” 


σωφρονίζειν, of a writer, to use a sober, moderate, temperate style. So 
Dion. H. ’Apx. Kp. 5, 2, of Isocrates. Luc. Hist. Consecr. 57. Phot. Bibl. 
99 speaks of the “λέξις σώφρων, (elocutio temperata), which neither goes 
beyond the Attic norm nor yet is mean.” Cf. Lowell, IV, p. 415, “ Words- 
worth’s purity and abstinence of style.” Of similar meaning is νήφειν, lit. to 
be sober, to drink no wine. Of writer or orator, to be sober, cool and 
moderate. Longin. 34, 4 of Hypereides. Jd. 16, 4. The opposite term is 
μεθύειν, lit. to be drunken with wine. Of writer or speaker, to be intem- 
werate. L. madere, luxuriari. Isoc. (8, 13) tells the Athenians they use 
as advisers the basest men who speak from the bema, καὶ νομίζετε δημοτικω- 
τέρους εἶναι τοὺς μεθύοντας τῶν νηφόντων. Longin. 3,5: “Speakers are often 
carried away, as if by intoxication (ἐκ μέθης). Philostr. V. Soph. p. 522. 
Seneca Hpist. 19, ebriwm sermonem. Cic. Or. 99: “et quasi inter sobrios 
bacchari vinulentus videtur.” 

κολάζειν, lit. to prune, trim trees and vines (so Theophr. H. P. 2, 7, 6); in 
Plato (cf. Gorg. 491 ἘΠ) to check the desires, ἐπιθυμίας. Of discourse, to keep 


OLASSIFICATION AND DEFINITION 98 


_ within bounds, to be modest, to refrain from using anything which tends to 
weaken excellence; a chastised, castigated style. L. castigare. (Quint. 10, 1, 
115, of oratio chastened. Hor. A. P. 292.) Philostr. Hpist. 73, διαλόγους κολά- 
fev. Id. V. Soph. 1, p.505. Aristid. Rhet. devotes a chapter to κόλασις τοῦ λόγου. 
(Sp. 2, p. 500.) Phot. Bibl. 181. An analogous Latin term applied both to 
style and to writers, is pressus, lit. pruned (cf. Verg. G. 1,157). As a critical 
term it means chaste, concise. Mayor defines it: “Pruned of all rankness, 
concise, quiet, moderate, self-controlled; opposed to extravagance, heat, 
turgidity, redundance.” Cf. Quint. 10, 1, 46 of Homer; 12, 10, 38; Cic. de Or. 
2,96; Brut. 51,202; Quint. 8, 8, 40; 2,8,4,and 15; 12, 10,16; Tac. Dial. 18. 


10. THe TRADES AND ARTS 


In the trades and arts literary criticism finds a favorite source 
from which to borrow its terminology. As has been said, oratory 
and literary composition are themselves regarded as fine arts; it 
is therefore natural, indeed inevitable, that the technical vocabu- 
lary of analogous but more material human pursuits should. be 
freely levied upon for the uses of criticism. 

In this general category metaphorical terms are defined which 
have their origin in the following trades and arts: (a) House- 
hold Management; (b) Roadmaking; (c) Medicine; (d) Weaving, 
Spinning, and Embroidery; (6) Carpentry; (7) Metal-working; 
(g) Engraving; (h) Architecture; (¢ and j) Painting and 
Sculpture. | 

A. HOUSEHOLD MANAGEMENT 


οἰκονομία, lit. management of a household, administration. In Rhetoric, 
arrangement of material, order. L. dispositio. A synonym for τάξις in Arist. 
Rhet. So Longin. 1, 4, τὴν τῶν πραγμάτων τάξιν καὶ οἰκονομίαν. Dion. H. de Thuc. 
9, p. 826, names the three parts of οἰκονομία: (1) διαίρεσις = distributio, (2) 
τάξις = ordo, (3) éepyacia = pertractatio. The metaphorical origin of the 
term is explained by Quint. 3, 3,9: “Oeconomiae, quae Graece appellata ex 
cura rerum domesticarum et hic per abusionem posita nomine Latino caret.” 
Cf. id. 10,5, 14. διοικεῖν, lit. to keep house, then to manage, regulate. In 
Rhet. = to distribute, arrange discourse. Isoc. 15, 47, ὅλον τὸν λόγον διοικοῦσιν. 
Dion. H. Art. Rhet. 9, 4. 

ταμιεύσθαι, lit. to act as treasurer, manager, steward, also of housekeeping. 
Of discourse to be sparing, restrained and modest. Dion. H. de Thue. 51, p. 
941. Philostr. V. Soph. p. 522. drametrws, ibid. 590. 


B. ROADMAKING 
Figures derived from roads, roadmaking, and travelers are not 
uncommon in literary criticism. Aristotle (οί. 3, 14) says 
that the procmium is a pioneering, a blazing of a trail, so to 


84 METAPHORICAL TERMINOLOGY OF GREEK RHETORIC 


speak, for that which follows, ὁδοποίησις τῷ ἐπιόντι. Demetrius 
(de Hl. 48): ‘Thucydides by always avoiding smoothness and 
evenness of composition is like a traveler on a rough road who 
seems to be constantly stumbling.” Ibid. 202: ‘‘Sentences should 
not be too long; they are like roads. Some roads have many 
resting-places and sign-posts; the sign-posts are like guides. But 
a monotonous road with no sign-posts is hard to follow though it 
be short.” The orator or writer when he tells a direct story pro- 
ceeds along a straight path, but any divergence or deviation from 
his theme is a turning-aside from the road. So the various terms 
for digressions, παράβασις, παρέκβασις, of which Quint. 4, 3, 12, 
says: ‘‘hanc partem παρέκβασιν vocant Graeci, Latini egressum 
vel egressionem.” Of digressions, B. Jonson, Timber, p. 64, says: 
“But why do men depart at all from the right and natural ways 
of speaking? .... Sometimes for pleasure, and variety, as 
travellers turn out of the high-way, drawn either by the com- 
modity of a foot-path, or the delicacy or freshness of the fields.” 


ἐκτροπή is perhaps the most interesting of these words. In one of its 


primary meanings it refers to the turning aside from the road. It is a lane 
which turns off from a highway, a “by-way” of expression. So L. deverticula. 


Pl. Polit. 267 A, ἐκτροπὴ λόγου. Further, both ἐκτροπή and the Latin deverti- 


culum designate places where one stops for rest, turning aside temporarily 
from the road. Almost equivalent to an inn. So Ar. Ran. 113, Dionysius 
wished to learn from Heracles of all ἀναπαῦλαι and ἐκτροπαί on the road to 
Hades. Demetrius (de El. 47) says that “a succession of inns shorten long 
journeys, but desolate roads, though the distance be short, seem long. The 
same is true of members (κῶλα) and of resting places in narratives.” Epictetus 
has an interesting comparison between travelers delaying at inns and stylists, 
which is quoted by M. Arnold, Essay on Wordsworth. 


C. MEDICINE 


The conception of words, discourse, or reason as physicians to 
the mind and its disorders is an early one. So Aischylus (Prom. 
378), ὀργῆς νοσούσης εἰσὶν ἰατροὶ λόγοι, quoted by Cic. Tuse. 8, 
81. Gorgias in the Helena (14) affirms that “λόγος has a power 
over the soul similar to that of drugs on the body. For just as 
divers drugs expel divers humors from the body and put an end 
to diseases or to life, so, too, some λόγοι cause pain, others give 
delight; some inspire fear, others arouse courage in the hearers; 
still others like magic potions enchant and bewitch the soul by 


——— rl er 


- 
OE ναι οὐ... .- ας δ. ιν. “ὦ 


CLASSIFICATION AND DEFINITION 35 


an evil power of persuasion.” Isocrates (8, 39) says that “‘phy- 
sicians have devised divers remedies for bodily diseases, but for 
ignorant souls which teem with base desires there is no drug save 
λόγος." Menander repeats the old thought (fab. ine. Kock No. 
559) that ‘‘Aoyos is the physician for mortal grief; for it alone 
has power to soothe the soul; λέγουσι δ᾽ αὐτὸν of πάλαι σοφώ- 
Tato. ἀστεῖον εἶναι φάρμακον." Plato in the Phaedrus (270 B) 
compares Rhetoric to medicine. Cf. Cic. de Or. 2,186. Theo- 
pompus the historian, is compared to a surgeon by Dionysius 
(Ep. ad Pomp. 785). 


ἀλεξιφάρμακον, an antidote. Longin. 16, 2, of the eulogies of Demosth. 
Id. 32, 4. Cf. also, tarpedpara, remedies. L. remedia. φάρμακα to win over 
hearers, Arist. Rhet. 3, 14. Cf. medicamenta, Cic. Or. 23, 78. θεραπευτικός, 
προθεραπεία. 

oldeiv, lit. to swell, tumere, turgere. τὸ οἱδεῖν, of inflated style, tumidity. 
L. tumor. Horace’s ampullas et sesquipedalia verba, A. P. 97. Quint. 12, 10, 
73, immodico tumore turgescit. Cf. Ar. Ran. 940 ff., for an elaborate medical 
metaphor. Longin. 3, 4 compares evil swellings in diction to those of the 
body. 

D. WEAVING, SPINNING, AND EMBROIDERY 


The conception of language as a web and of style as the result 
of the skilful interweaving of the threads of discourse is common 
to all peoples. A literary composition is as a woven cloth whose 
texture may be thin, fine, and delicate, or tangled and intricate. 
Further, this product of the literary loom may be embroidered or 
adorned and diversified with the flowers and varied embellish- 
ments of rhetoric. 


ὑφαίνειν, lit. to weave, L. texere, is used repeatedly in Homer of the 
crafty weaving of schemes and plots, 6. g. J/.6,187. So, also, the verb ῥάπτειν. 
lit. to sew or stitch. We see these words developing, in a figurative sense, 
very early with reference to literary composition. Hesiod Frag. 227, (34), 
refers to himself and Homer as ἐν νεαροῖς ὕμνοις ῥάψαντες ἀοιδήν. Pind. N. 2, 2 
calls epic poets ῥαπτῶν ἐπέων ἀοιδοί. Cf. ῥαψ ῳδός, one who stitches songs together. 
The word ὕμνος (hymn) itself is derived from the root Vv¢. L. swere, Eng. 
sew, and means that which is sewn or stitched together; cf. Od. 8, 429, ὕμνος 
ἀοιδῆς, lit. stitching together of song. (So, also, Hom. Hymn 3,451.) Pind. 
Fr. 179 (170), ὑφαίνω.. . .. ποικίλον ἄνδημα. Bacchyl. 5, 9, ὑφάνας ὕμνον. Pl. 
Tim. 69 A, τὸν ἐπίλοιπον λόγον δεῖ ξυνυφανθῆναι. Dion. H. de Comp. 23; Demet. 
de El. 166, ἐνυφαίνειν. L. intewere. Longin. 1, 4 speaks of the whole texture of 
the composition, τοῦ ὅλου τῶν λόγων bpovs. Anaxim. Rhet. 32, συνυφαίνειν τὸν λόγον. 

ποικίλλειν (its compounds and derivatives), is a favorite word with the 
rhetoricians. Lit. to embroider, to work in various colors; hence, of style, to 


36 METAPHORICAL TERMINOLOGY OF GREEK RHETORIC 


adorn, ornament, embellish, diversify. L. ornare. Pind. Pyth. 9, 134, Baa 
ποικίλλειν. Soph. Tr. 1121 (cf. 412); Pl. Menew. 235 A, of funeral orators, 
κάλλιστά πως τοῖς ὀνόμασι ποικίλλοντες. Isoc. 9, 9, πᾶσι τοῖς εἴδεσι διαποικῖλαι τὴν 
ποίησιν. Id. 18, 16. Dion. H. de Comp. 22 (Sch., p. 302), λόγος πολλοῖς ὥσπερ 
ἄνθεσι ποικιλλόμενος τοῖς ἐαρινοῖς. Frequent in Dion. H. Longin. 23,1. ποικιλία, 
decoration, variety. L. varietas. Isoc. 5, 27 of his Φίλιππος, οὐδὲ... . ποικι- 
Alas κεκοσμήκαμεν. Id. 12, 246. Arist. Poetics 23. ποικίλος, varied, embel- 
lished, Isoc. 15, 47 of λέξις ; Arist. Rhet. 3,16, λόγος. . . . ποικίλος καὶ οὐ λιτός. 
Opp. to 7. is Aurés, lit. unembroidered, smooth, plain (cf. és in Homer of 
smooth cloth). Of style, plain, simple, unpretending, unadorned. L. simplex. 
Arist. Rhet. 3,16; Dion. H. de Thue. 23, p. 863, λέξιν... τὴν λιτὴν καὶ ἀκόσμη- 
τον kal μηδὲν ἔχουσαν περιττόν. Demet. de El. ΤΊ. 

πλέκειν (closely related in meaning to ὑφαίνειν and ῥάπτειν), lit. to plait, 
weave, twine, twist. L. nectere, texere. To scheme,.devise, plan; then, of 
literary composition, Pind. O. 6, 146, wd. ὕμνον. N. 4, 153, rr. ῥήματα. Arist. 
Poetics, 18, 11, πλοκὴ καὶ λύσις, complication and unraveling ... . πολλοὶ δὲ 
πλέξαντες εὖ λύουσι κακῶς, “Many poets tie the knot well, but unravel it ill.” 
διαπλέκειν, to interweave, weave together. lL. intexere. Anon. (Sp. Rh. Gr. 1, 
323). Cf. also συμπλέκειν, συμπλοκή, ἐπιπλοκή, ἀναπλέκειν, συγκαταπλέκειν. πολύ- 
πλοκος, tangled, involved. (Cf. πολύπλοκον νόημαις, Ar. Thesm. 463.) Dion. H. 
ad Amm. 2, p. 792, σκολιά (tortuous) καὶ πολύπλοκα (involved) καὶ δυσεξέλικτα 
perplexed, hard to unravel. The involved style is well criticised by Jonson 
Timber p. 63, “Our style should be like a skein of silk, to be carried and 
found by the right thread, not ravelled and perplexed: then all is a knot.” 

στρέφειν ἄνω kal κάτω. This expression Greilich (p. 43) cites as borrowed 
from plaiting and weaving. στρέφειν may be used of twisting or spinning; cf. 
Blimner. So Xen. An. 4, 7,15 of a rope; met. Plut. 2,235 EK. Perhaps this 
idea was sometimes present. But the ordinary meaning of the phrase στρ. 4. 
x. κι is simply to turn up and down, this way and that, upside down. When 
used of literary composition it refers to the painstaking care and diligence of 
careful writers in elaborating subject-matter and perfecting style. Cf. Pl. 
Phaedr. 278 D-E; Dion. H. de Dem. 51, p. 1111, of Demosth. finish of style, 
στρ. &. kK. kK. τὰ μόρια THs λέξεως καὶ τὰ ἐκ τούτων συντιθέμενα κῶλα. Id. de Thuc. 
24; διετέλεσε (Θουκυδίδης)... τὰς ὀκτὼ βίβλους. ... στρέφων ἄνω καὶ κάτω 
καὶ καθ᾽ ἕν ἕκαστον τῶν τῆς φράσεως μορίων ῥινῶν καὶ τορεύων. συστροφή, the 
twisting of yarn. Terseness, compactness, concentration. L. concinna 
brevitas, conversio. Dion. H. de Dem. 18, p. 1006; Demet. de Hl. 8, to twist 
up, roll into a ball, to compress, to bring into close form. From Arist. 
(Rhet. 3, 18, 4) down. On this term see Sandys ed. Cic. Or. 20. Cf. also 
κατεστραμμένη λέξις, compact, intertwisted (L. contortus), of the periodic style. 
Arist. Rhet. 3, 9, 1. 

εἰρομένη (λέξις). εἴρω is lit. to string or fasten together. L. nectere. Of a 
necklace (Od. 18, 296); of crowns (Pind. N. 7, 113). Of style, running. L. 
oratio fusa, tracta, et negligenter pendens (Ern.). Jebb (p. 31): “It is per- 
haps impossible to find English terms which shall give all the clearness of 
the Greek contrast between περιοδική and εἰρομένη λέξις. The running style as 
εἰρομένη expresses, is that in which the ideas are merely strung together, like 
beads, in the order in which they naturally present themselves to the mind.” 


CLASSIFICATION AND DEFINITION 37 


Arist. Rhet. 3, 9, takes as his example of the running style the opening words 
of the History of Herodotus. See Norden 1, pp. 38-41, for Herodotus, the 
leading representative of the λέξις εἰρομένη. Demet. de El. 12 calls the 
running style, διῃρημένη (disjointed, resolved, loose, L. divisus); διαλελυμένη 
(loose, broken up, L. dissolutus); and διερριμμένη (sprawling, L. distractus). 
Dion. H. de Dem. 39 calls it κομματική, commatic, i. e., composed of short 
clauses, κόμματα. Cf. διείρειν, to string together. Dion. H. de Comp. 26, 
᾿ λόγος διειρόμενος = elpduevos. συνείρειν, to string together. L. connectere. 
Dem. de El. 15 of stringing together periods. Cf. also, evvaprav, to knit 
together. L. colligare. Demet. de El. 12; 193. σφίγγειν, to bind tight. L. 
constringere (Cic. vincire). Demet. de El. 244. So συνδεῖν, σύνδεσις, σύνδεσμος. 
λεπτός, subtle, precise. 1). subtilis, tenuis. Dion. H. ad Pomp. 2, p. 158. 
λεπτότης, terse simplicity. L. tenuitas. Of thin, fine texture (of garments 
and the spider’s web) in Homer. For the equivalent Latin terms the follow- 
ing notes are instructive: subtilis; Wilkinson, Cic.de Or.1,17: “Originally 
jinely woven, it comes to mean, fine, then delicate; here it has the force of 
graceful, refined ; thence it passes into the meaning of precise, accurate; it 
is Cicero’s usual translation for ἀκριβής; finally it is the name for the plain 
style of oratory, τὸ ἰσχνὸν γένος, and thus acquires the force of unadorned.” 
tenuis; Sandys, Cic. Or. 5,20: “The primary meaning of tenwis is thin; its 
metaphorical use as an epithet of style is derived, not from the notion of 
slimness and slenderness of form (like ἰσχνός and gracilis), but from thinness 
and fineness of texture.” Cf. tenue argumentandi filum, Cic. Or. 10, 1, 124, 
and English, to lose the thread of a discourse. Shaks. Love’s Labour’s Lost, 
V,1: “He draweth out the thread of his verbosity finer than the staple of 
his argument.” 


E. CARPENTRY 


The style of the writer is like the product of the labor of car- 
penter or craftsman; it may be worked with care, accurately 
joined, polished smooth and artistically finished, or the opposite 
may be true. 


τορνεύειν, to work with a lathe, to turn. L. tornare, rotundare. Ar, 
Thesm. 54, κάμπτει δὲ νέας ἁψῖδας ἐπῶν, τὰ δὲ τορνεύει, τὰ δὲ κολλομελεῖ Two ele- 
gant metaphors derived from the lathe are, Pl. Phaedr. 234 E: ὅτι σαφῆ καὶ 
στρογγύλα Kal ἀκριβῶς ἕκαστα τῶν ὀνομάτων ἀποτετόρνευται. Dion. H. de Dem. 43, 
p. 1093, of periods, στρογγύλαι ὥσπερ ἀπὸ τόρνου. Cf. Hor, A. P. 441. εὔτορνος, 
well-turned. Met. smooth, well-turned, i. e., refined, elegant, graceful. L. 
teres. Phot. Bibl. 193. Cic. de Or. 3,199: “oratio plena quaedam sed tamen 
teres” of the Asiatic style. 

στρογγύλος, lit. round, spherical. Met. compact, rounded, terse. L. 
rotundus, contortus. Very common from Pl. and Arist. down. See s. v. 
τορνεύειν. Of. Cic. Brut. 78, 272, “verborum et delectus elegans et apta et 
quasi rotunda constructio.” 

ἀποσμιλεύειν, lit. to plane off. Of ῥήματα, Themist. 251 B. σκινδαλμοί are 
splinters or shavings. Of arguments or style, subtleties, refinements, quibbles. 
Ar. Nub. 130; Ran. 819; Alciphr. 3, 64. 


98 METAPHORICAL TERMINOLOGY OF GREEK RHETORIC 


ἁρμόζειν is used primarily of the joiner’s art. To fit together, join. (Cf. 
Od. 5, 247 and 162.) Dion. H. de Comp. 7, ἁρμ. κῶλα πρὸς ἄλληλα, Freq. in 
Dion. H., also συναρμόττειν and προσαρμόττειν. L. coagmentare. See s. v. κόλλησις. 
ἁρμονία, primarily of the joining of timbers. In Rhet., harmony, composition, 
adjustment of words. L. apta structura, concinna orationis compositio. 
Suidas s. v. gives the literal and metaphorical uses of the word. For the 
harmonies of Dion. H., cf. de Comp. 22. Cope discusses the word, Introd. to 
Aristotle's Rhetoric, pp. 379-387. 

λεαίνειν, lit. to make smooth, to polish. Of style, to polish. lL. polire. 
Also συλλεαίνειν, Frequent in Dion. H. de Comp. 16; de Dem. 43, etc. λεῖος, 
smooth. IL. levis. Opp. term is τραχύς, asper. Dion. H. Demet. de El. 48, 
58 passim. 48, τὸ λεῖον καὶ ὁμαλὲς τῆς συνθέσεως = levis et aequabilis compositio. 
λειότης, smoothness. L. levitas. Frequent in Dion. H. Cf. περὶ μιμήσεως 2 
(Usener, p.19). Quint. 10, 1, 52, of Hesiod, “levitas verborum et compositionis.” 

ἀπαρτίζειν, to make even, round off, to perfect, polish, complete. L. adae- 
quare. Demet. and Hermog. (Sp. 2, 241). 

ovytetv, lit. to smooth by scraping or planing. Of style, to polish. L. 
perpolire. The earliest instance noted is in Alcid. περὶ σοφιστῶν, 20. Freq. 
in Dion. H., cf. de Thuc. 24, λέξις συνεξεσμένη = elocutio polita. Cic. de Or. 1, 
50; 2, 54; 3, 184. The rhetorician Hermogenes bore the surname ξυστήρ, 
polisher, perhaps owing to the polish which he recommended as one of the 
principal requisites in a written composition. περιεξεσμένος, polished. L. 
politus. Demet. de El. 14 of the older style of writing, which resembles 
ancient statues. Cf. Schol. Ar. Ran. 86, Xenocles, ἄξεστος ἐν τῇ ποιήσει. Dryden, 
XI, p. 233: “Chaucer is a rough diamond and must be polished ere he shines.” 

πεποιημένη λέξις, L. oratio polita et facta quodam modo, Cic. de Or. 3, 48, 
184, and Brut. 8, 30, an elaborated, artistic diction the result of care. Longin. 
3,4; 8. 

γλαφυρός. It would seem that γλαφυρός was connected with the arts or 
handicrafts, as it means primarily hollowed (γλάφω, γλύφω), scraped, hence 
smooth. It is a favorite term as applied to style, meaning smooth, polished, 
elegant, adorned. UL. politus, elegans, ornatus, floridus. Dion. H. (de Comp. 
21) distinguishes three styles or harmonies: (1) αὐστηρόν. (2) γλαφυρὸν ἢ ἀνθη- 
pov. (3) κοινόν. χαρακτὴρ yNapupés is one of the four types of style of Demetrius. 
Dion. H. de Dem. 40 describes the x. γλαφυρός. 

ἀκριβής, a term common from Aristotle down, in its critical use may well 
have been suggested by its frequent use in the arts or handicrafts to designate 
careful, accurate work or “putting on the finishing touches.” As a term of : 
style, exact, precise. L. accuratus. ἀκρίβεια, perfection, technical finish. 
L. accuratio, ars exquisita. Isoc. 4, 11 contrasts ἀκριβής and ἀπηκριβωμένος 
with ἁπλῶς. Id.9, 73. Arist. Rhet. 3,17, τὸν λόγον ἀκριβῆ. Ibid. 3,12. ἀκρι- 
βοῦν, to give a finish to. So διακριβοῦν. ἀκριβεῖς λόγοι, as in Dion. H. de Isaeo 
20, are chaste, modest discourses, having no redundancy, excessive elaboration, 
or theatrical display. Accuratus and accuratio are frequent in Cic. Quint. 
8, 3, 49, vilis oratio is opposed to the accurata. 


FEF. METAL-WORKING 


τορεύειν, to work metal in relief, repoussé; to chase. L. caelare, sculpere. 
Of style, Dion. H. de Thuc. 24,1, of the literary industry and accuracy of 


CLASSIFICATION AND DEFINITION 39 


Thuc. ῥινῶν καὶ τορεύων. περιτορεύειν, lit. to work around in relief. Dion. Ἡ. 
de Dem. 21, p. 1020, συγκεκρότηταί τε καὶ συνέσπασται καὶ περιτετόρευται τοῖς νοήμασιν 
ἄμεινον. Hrnesti (rotunda, concisa et teres elocutio) and L. and 8. (to round 
_ off) although reading περιτετόρευται translate as if it were περιτετόρνευται, which 
indeed better fits the sense and is, in fact, read by Usener et Rademacher 
(Teubner). τορευτός, lit. worked in relief; met. polished, elaborate. lL. cae- 
latus, politus. Dion. H. de Dem. 51, p. 1112: Ἰσοκράτην καὶ Πλάτωνα γλυπτοῖς 
καὶ τορευτοῖς ἐοικότας éxpépovras λόγους. Anth. Pal. 9,545, rop. ἔπος. τορεία, carving 
in relief, of rhet. art, Poll. 6, 141. 

ῥινᾶν (ῥίνη), lit. to file, fine down. L.limare. Of the polish and refining 
of language. Ar. Ran. 901, τὸν μὲν ἀστεῖόν τι λέξαι καὶ κατερρινημένον. Dion. H. 
de Thuc. 24, ῥινῶν καὶ τορεύων. Hor. A. P. 291, limae labor; Ovid Trist. 1, 7, 
29; limatus, Cic. de Or. 1, 39, 180 and Quint. 

συγκροτεῖν, lit. of metal, to hammer or weld together. (Pl. Crat. 416 B.) 
Dion. H. de Dem. 18, p. 1007; id. de 1506. 2, p. 538 of the λέξις of Isoc., οὐ 
στρογγύλη ὥσπερ ἐκείνη (Sc. Λυσίου) καὶ συγκεκροτημένη. συΎκ. λέξις, φράσις = terse, 
“der gedrangte kurze Ausdruck” (Ern.). Cf. Dion. H. de Dem. 19, p. 1010, 
ἀσυγκρότητος. 

ἐπιχαλκεύειν, lit. to forge upon the anvil. L. fabricari et formare in 
incude. Arist. Rhet.3, 19,1, to forge a man to the will of the speaker. Cf. 
Ar. Nub. 422. 

σφυρήλατος, lit. of metal, wrought with the hammer. Luc. Encom. Dem. 
14, σφ. λόγος = oratio solida, compacta; grave, dignified discourse, in no wise 
frigid or bombastic. κόλλησις, lit. the glueing or welding together of metals 
or other materials. L. conglutinatio. In Hermog. of the union of a verse- 
quotation with prose. For verb see Pl. Phaedrus, 278 D, EK. προσκολλᾶσθαι, 
lit. to stick to. Of style, to be compact, Dion. H. de Dem. 43. ἀκόλλητα στοι- 
χεῖα, Dion. H. de Comp. 22 of letters which ought not to be joined together. 
Ar. Thesm. 54, κολλομελεῖν, comic word, to glue verses together. Nub. 446, 
ψευδῶν συγκολλητής, fabricator of lies. Ina similar way the term coagmentare 
is used metaphorically in L. In its primary sense (as in Vitruv. 8, 7) it means 
to join or cement together blocks of stone, wood, etc. Met. as in Cic. Or. 77; 
Brut. 68; de Or. 3, 171; Quint. 12, 10, 77, it refers to the composition and 
arrangement of words in a sentence. So B. Jonson, Timber, p. 65: “The 
skin and coat, cutis sive cortex (Quint. 10, 2,15), which rests in the well-joining, 
cementing and coagmentation of words, compositio.” An elaborate figure 
from metal-working is used by Symonds, of Ben Jonson in English Worthies, 
p. 52: “He did not need to... . weld his borrowings into one another, but 
rather having fused them in his own mind, powred them plastically forth 
into the mould of thought.” 


G. ENGRAVING 


χαρακτήρ, lit.a mark engraved or impressed, the impress or stamp on 
coins, seals, etc. Of style, characteristic stamp, character or peculiar type. 
L. nota, forma. Dionysius de Dem. distinguishes three types: ὑψηλός, ele- 
vated, represented by Thucydides; ἰσχνός, the plain, represented by Lysias, 
and μέσος, the middle, represented by Isocrates and Plato. Demetrius (36, 37) 
gives four χαρακτῆρες: ἰσχνός, the plain; μεγαλοπρεπής, the elevated; γλαφυρός, 
the elegant; δεινός, the forcible. χαρακτηριστικός is the adj., de Lys. 11. 


40 METAPHORICAL TERMINOLOGY OF GREEK RHETORIC 


From money are derived the terms: 

παράσημος, stamped awry, falsely struck, counterfeit, eccentric. L. per- 
peram signatus. Demet. de El. 208. Demosth. 307, 26, 7. ῥήτωρ. For the 
genuine stamp, cf. Hor. A. P. 58,59. κωδωνίζειν, to try money by ringing. Ar. 
Ran. 79: “To ring Iophon, to try what the ring is like of the poetry he com- 
poses without the aid of Sophocles.” κατακερματίζειν, lit. to change into small 
coin. Longin. 42, to divide a narrative into small sections. Dion. H. de Thue. 
9, p. 828. 


H. ARCHITECTURE 

With the Greeks the art of the poet or writer is closely akin 
to that of the architect. So Dionysius and Aischines call the 
writer an artisan, δημιουργὸς λόγων. The verb κατασκευάζειν, to 
build or equip, is frequently used of literary composition, while 
literary subject-matter is designated ὕλη, L. sélva, literally, 
building-material. We are frequently reminded by the literary 
critics that architectural construction and literary composition 
closely resemble each other in method and aims. Alcidamas 
(περὶ σοφιστῶν 25) speaks of συνερείπειν τὴν τῶν ὀνομάτων οἶκο- 
δομίαν. ‘‘Composition,” says Longinus (89, 3), ‘by the building 
of phrase upon phrase, erects a lofty and harmonious edifice.” 
So Dionysius (de Comp. 6) compares composition and building: 
“The house-builder having provided the materials for construc- 
tion, stones, wood, tiles, etc., has three things to consider. First, 
what sort of stones, timbers, and bricks must be fitted together; 
second, how and on what side to place each; third, to make suit- 
able any which may not fit well, by breaking and shaping them. 
Now, those who seek a happy literary composition have analogous 
duties in the proper selection and collocation of the parts of dis- 
course.” Other elaborate comparisons are to be found in Quint. 
7,1 (Proem.); Dion. H., de Comp. 22; Longin. 10,7; Cic. de 
Or) θ "(1 ᾿ 

Elegant literary composition, especially clever diction and 
collocation of phrases, may be aptly compared to skilfully laid 
mosaic. So Carlyle (Hist. of Lit., p. 53): “The effect of Ver- 
gil’s poetry is like that of some laborious mosaic of many years’ 
putting together.” Overmuch nicety, however, must be avoided. 
The witty couplet of Lucilius ridiculing T. Albucius is a case in 


16 Dem. 51; ’Apx. Kp. 2, 10. Aschin,. 84, 36. Pind. Pyth. 3, 200, poets are τέκτονες, Cf. 
also Ar. Eq. 530, So Eur. Androm, 476. 


CLASSIFICATION AND DEFINITION 41 


point (Ap. Cic. Or. 44, 149): “Quam lepide λέξεις compostae, αὖ 
tesserulae, omnes arte pavimento atque emblemate vermiculato!” 
Sandys translates: 


Oh! the neatly fitted phrases! all so cunningly combined, 
Like the little cubes in pavements, and mosaic intertwined. 


κατασκευάζειν, to build, construct, equip, and frequently in Dion. H. of 
literary composition and production, to construct, compose. κατασκευασμένος = 
L. ornatus. κατασκευή, elaboration, embellishment. éyxardcxevos, elaborate, 
embellished, studied. ἀκατάσκευος, inartificial; cf. Greilich, p. 10. ἁπλοῦς and 
ἀφελής are Sometimes synonyms of ἀκατάσκευος. 

ὕλη, properly timber for building: then met. raw material. A philo- 
sophical term. In Rhetoric, subject-matter. L. silva, materia. Demet. de 
El. 76; 163. Cic. Or. 12, silva dicendi. The met. is carried further by the 
words nec satis instructa, not sufficiently shaped or hewn. Subjecta materies 
= ὑποκειμένη ὕλη. 

πυργοῦν, lit. to furnish with towers, to raise up to a great height. Ar. 
Ran. 1004: “Auschylus, πυργώσας ῥήματα σεμνά, building up the lofty rhyme.” 
(Cf. Milton, Lycidas.) Pax 749 (of. the poet himself): ἐποίησε τέχνην μεγάλην 
ἡμῖν κἀπύργωσ᾽ οἰκοδομήσας ἔπεσι μεγάλοις καὶ διανοίαις, Kur. Sup. 998. Cf. ἐποι- 
κοδόμησις, lit. building up. Longin. 39, 8, ἐπ. λέξεων verborum constructio = 
σύνθεσις, ἁρμονία. : 

ἀντέρεισις, Demet. de Hl.12. Propping, buttressing. Τι. fultura. “The 
idea (that of interlacing support) is the same as in the words insistere 
invicem (Quint. 8, 5, 27). So the verb ἀντερείδειν in § 13.” (Rob.) ἐρείδεσθαι, fo 
be supported or buttressed, Dion. H. de Comp. 22. ἐξέρεισμα, prop, support. 
Longin. 40, 4, of words supporting one another like buttresses. Dion. H. de 
Comp. 16. ἀντιστηριγμός, στηρίζεσθαι. 

ἕδρα, foundation, basis. Li. sedes. Dion. H. and Demet. The termina- 
tion of a period or clause which contains some long syllables. ἑδραῖος, well- 
based, stable. LL. stabilis. 

γόμφοι, lit. bolt of wood or metal for building. Ar. Ran. 824, γομφοπαγῇ 
ῥήματα, bolt-fastened phrases. Longin. 41: “words close together, cut up 
into short syllables, held together as if by bolts, γόμφοις.᾽" 

κανών, lit. the mason’s rule or measure; see Aischin. 6. Ctes., p. 588 (3, 199). 
Met. very common in literature, rule, standard. L. norma, regula. Dion. H. 
Art. Rhet. 11, 1 (Sch., p. 324): δεῖ ὥσπερ κανόνα εἶναι καὶ στάθμην καὶ δοκίμιον πρὸς 8 
τις ἀποβλέπων δυνήσεται τὴν κρίσιν ποιεῖσθαι, Id. de Lys. 2, p. 454: τῆς ᾿Αττικῆς 
γλώσσης ἄριστος κανών (i. e. Lysias). 

τετράγωνος, lit. square. L. quadratus. Met. perfect, of a writer or 
speaker, Dion. H. de Isaeo 19, Anaximenes the Lampsacene, ἐν ἁπάσαις ταῖς 
ἰδέαις τῶν λόγων τετράγωνόν τινα εἶναι βουλόμενον. Cf. Cic. Or. 197, quadrandae 
orationis industria, where Sandys says, “i. 6. excessive painstaking in 
mechanical finish; 208, ‘redigeret in quadrum;’ a metaphor from carpentry 
and building, from hewing wood or cutting stone four-square, so as to allow 
of the blocks being closely fitted together. Quint. 2, 5, 9, levis et quadrata 


42 METAPHORICAL TERMINOLOGY OF GREEK RHETORIO 


sed virilis tamen compositio.” The number four and the square were 
symbols for perfection with the Pythagoreans. Simonides 5, 2 of a good 
man: χερσίν τε καὶ ποσὶ καὶ νόῳ τετράγωνον. 


I AND J. PAINTING AND SCULPTURE 


In the terminology of Greek rhetoric and literary criticism we 
-do not find a large number of terms derived from painting and 
sculpture, although ancient literary criticism abounds in com- 
parisons from these arts. For oratory is regarded as a fine art 
and the orator or writer as an artist. According to the ancient 
standard, as much care and pains should be bestowed on literary 
composition as the painter or sculptor lavishes on picture or 
statue. Nettleship, p. 54, says: “The comparison between the 
arts of painting and sculpture and literature . . . . as a common- 
place of criticism is at least as old as Neoptolemus of Parium. 
Cf. Hor. A. P. 1 ff.” Sandys, Hzst. of Clas. Schol., p. 178, also 
seems to be under the same misapprehension, viz., that such com- 
parisons begin with Neoptolemus. This is, of course, erroneous. 
Cf. Simonides: ‘Painting is silent poetry, and poetry speaking 
painting.” (Plut. de Gloria Athen. 346 F.) One of the earliest 
comparisons between discourse and sculpture and painting is to 
be found in Alcidamas περὶ σοφιστῶν 27, 28, who compares 
written speeches to the productions of those arts, in that they are 
but imitations of the real, giving pleasure but no profit to men. 
Just as real bodies are of more service than statues, so extempore 
speaking is full of life, while the written word is but a likeness 
of vivid discourse. A number of such comparisons are in Plato 
and Aristotle. EH. g. Arist. Poetics chap. 6. (For Aristotle, cf. 
Carroll, Trans. Amer. Phil. Assoc., 1898, p. liii.) Dionysius is 
especially fond of such parallels; in the de Isoc. 8, p. 542, he 
likens Isocrates’ style to the art of Polycleitus and Pheidias in 
dignity, impressiveness and sublimity, and Lysias to Calamis and 
Callimachus, in lightness and grace. Again, de Isaeo 4, Lysias 
in his simplicity and grace is compared to the older style of 
painting which is characterized by correct drawing, but simple 
coloring. Iszeus’ works, however, are likened to the later paint- 
ings which are varied in light and shade and use many colors. 
Polygnotus represents the former, Zeuxis the later school. Cf. 


% ἊΝ 
tte χω ee Ὁ ΝΣ  Ν 


OLASSIFICATION AND DEFINITION 43 


Quint. 12,10, 1-6. It is unnecessary to multiply examples. It 
will be sufficient to refer to Brzoska (see Appendix), who quotes 
a large number of the original passages in which comparisons are 
made to painting, sculpture and occasionally architecture, from 
the following sources: | 


Cic. de Or. 1, 72; 2, 69; 2, 320; 2, 357; 3, 25; 3, 98; 3,171; 3,180; 3, 195; 
3, 217; Brut. 66 ff.; 71; 228; 256 ff.; 296; Or. 3 ff.; 36, 65, 73, 169, 185, 234; 
de Opt. Gen. Or. 5; de Inv. 2, 1-11; ad Her. 4,6. Dionys. of Hal. de Comp. 
2, p. 10; 6, p. 40; 10, p.52; 21, p. 146; 22, p. 148; 23, p. 171, 25; de Isoc. 3, 
p. 541; 13, p. 559; de Isaeo, 4, p. 591; de Din. 7, p. 644; de Thue. 4, p. 816; 
de Dem. 41, p. 1082; 50, p. 1108. Demet. de El. 13, 33, 76. Longin. 17, 30, 
36, 41. 

χρῶμα, color, complexion, character of style, tone. L. color. Dion. H. 
ad Amm. 2, p. 793, gives the χρώματα λέξεως of Thucydides. By a color here 
D. refers to the character or nature of the style as effected by certain forces 
or qualities which are found in the thought and content of his writings; 
these colors are “sting and pungency, solidity, austerity, gravity and 
impressive vehemence, and above all, his power of affecting the emotions.” 
ἀληθεῖ δέ τινι καὶ φυσικᾷ κεκοσμῆσθαι χρώματι, de Thuc. 42. Pl. Rep. 601 A. 
Color in Latin is often the appropriate tone, cf. Quint. 10,1, 59; 12, 10, 71: 
‘Non unus color prooemii, narrationis, argumentorum, egressionis, perora- 
tionis servabitur.” χρώματα are also ornaments, embellishments. L. pig- 
menta, ornatus. Cf. vb. pingere. Phot. Bibl. 214, χρώμασι καὶ ποικίλμασι τῆς 
pyropelas. Cf. ad Herenn. 4, 11,16: “exornationes si rarae disponentur, dis- 
tinctam sicuti coloribus .... reddent orationem.” Cic. de Or. 100: “oratio 
claris coloribus picta.” So in English embellished or figurative language is 
called colored speech. Adj. χρωματικός, florid, colored. 

ἀναζωγραφεῖσθαι, of writers, to depict. Longin. 32, 5. 

edypappos, well-drawn, well-defined. L. bene delineatus. 


Plastic Art— 


πλάττειν, of the statuary, to mould, form, shape. L. fingere. Metaphor. 
used of fabricating, forging words, counterfeit speeches, etc. So ἀναπλάττειν. 

εὔπλαστος, Pl. Rep. 9, p. 588 D: λόγος εὐπλαστότερος κηροῦ. So Cic. de Or. 3, 
45, 177: “Ea (verba) nos sicut mollissimam ceram ad nostrum arbitrium 
formamus et fingimus.” κακόπλαστος, Hermog. (Walz 3,7). ἄπλαστος, natural, 
unaffected, simple, free from adornment or elaboration. Dion. H. Art. Rhet. 
10,11; Phot. Bibl. 259 of Antiphon, ἀπλάστους τὰς νοήσεις. πλάσμα, mold, form, 
manner. 

τύπος, lit. print, impression, stamp (as on coins, etc., like χαρακτήρ). Of 
sculpture in relief, plastic art. Asa stylistic term, form, style, type of style. 
L. forma. Dion. H. de Dem. 24; Hermog. π. ἰδ. (Sp. 2, p. 415). Cf. τυποῦν, 
ἐκτυποῦν, ἀποτυποῦν. ἀρχέτυπον (cf. Greilich, pp. 22, 23). Longin. (13, 4) gives a 
fine illustration of the term ἀποτύπωσις : “It is not plagiarism for one author 
to draw inspiration from another; it is like taking an impression (drorvrwois) 
from beautiful forms or figures or other works of art.” (Rob.) 


44 METAPHORIOAL TERMINOLOGY OF GREEK RHETORIO 


ἐκμάττεσθαι, a technical term of the plastic art and used of style. To 
copy, mold, model, express. L. exprimere. Dion. H. de Dem. 13, τὸν Λυσιακὸν 
χαρακτῆρα ἐκμέμακται εἰς ὄνυχα (ad unguem, ad amussim). So ἀπομάττεσθαι, Dion. 
H. ’Apx. Κρ. 3, 2. 

alvos, tinge of antiquity, classic style; εὐπίνεια, mellowness, fine old style; 
πινόομαι, to be tinged with archaism. The metaphor (as Roberts, ed. Dion. H., 
p. 202, says) is that of the oxidation of bronze statues, weather-marked and 
mellowed, bearing upon them the patina so highly prized by the connoisseur. 
(Cf., however, a schol. on Dion. H. ad Pomp. 2, p. 759, for a different explana- 


tion. mlvos—6 ῥύπος ἤτοι ὁ ἐπικείμενος χνοῦς ws ἐπὶ μήλων καὶ ἀπίων καὶ δαμασκηνῶν.). 


Dion. H. de Dem. 39: εὐγένεια καὶ σεμνότης ἁρμονίας τὸν ἀρχαῖον φυλάττουσα πίνον. 
Ibid., 44: αὐχμοῦ μεστὸν εἶναι καὶ rlvov. From de Comp. 22 in describing the 
austere harmony the meaning of the term is clear, ἥκιστα ἀνθηρά, μεγαλόφρων, 
αὐθέκαστος, ἀκόμψευτος, τὸν ἀρχαισμὸν Kal τὸν πίνον ἔχουσα κάλλος. Of. Cic. ad Att. 
14,7; “a Cicerone mihi litterae sane πεπινωμέναι et bene longae,” where Tyrrell 
and Purser (vol. 5, p. 232) annotate: “ ‘quaint, classic,’ Att. 12, 6, 4 (499). Again 
in Att. XV, 16a, we have πεπινωμένως, ‘quite in the classic style. The word 
πίνος means the robigo antiquitatis, the pretiosa vetustas, which makes a 
work of art valuable.” ἀρχαιοπίνης, Dion. H. de Dem. 38. On the other hand 
there may be undesirable qualities in the old-time style which are as rust and 
mold which need to be rubbed off. Quint. 2, 5, 23 says that boys should 
read the ancients for a solid and manly force of thought though the squalor of 
a rude age is to be cleared off. 


eo ae 


> 


Se i ΧΑ, “νας: 


δ. 


ΠΙ|. APPENDIX 


1. The following is ἃ list of some books which have been consulted and 
referred to frequently : 


Blimner, Technologie und Terminologie der Gewerbe und Kiinste bei Griechen 
und Rémern. 4 vols. 

Bray, History of English Critical Terms. (Ginn.) 

Brzoska, de Canone decem Oratorum Atticorum Quaestiones. 

Butcher, Edition of Aristotle’s Poetics. 

Causeret, Etude sur la langue de la rhétorique et de la critique littéraire 
dans Cicéron. (Paris, 1886.) 

Cope, Edition of Aristotle’s Rhetoric. 

Ernesti, Lexicon Technologiae Graecorum Rhetoricae. (Leipzig, 1797.) 
Ke Lexicon Technologiae Latinorum Rhetoricae. 

Gerber, Die Sprache als Kunst. 2 vols. 

Greilich, Dionysius Halicarnassensis quibus potissimum vocabulis ex artibus 
metaphorice ductis in scriptis rhetoricis usus sit. (Suidniciae, 1886.) 

Gudeman, Edition of Tacitus’ Dialogus de Oratoribus. 

Jebb, The Attic Orators. 2 vols. 

Jonson, Timber, ed. by Schelling. (Ginn.) 

Nagelsbach, Lateinische Stilistik. 

Navarre, La rhétorique grecque avant Aristote. (Paris, 1900.) 

Nettleship, Essays and Lectures. 2nd Series. 

Norden, Die Antike Kunstprosa. 2 vols. (Leipzig, 1898.) 

Peterson, Edition of Quintilian, Book X. 

Roberts, Editions of Longinus, On the Sublime; Dionysius of Halicarnassus, 
The Three Literary Letters; and Demetrius, On Style. (Cambridge.) 

Saintsbury, History of Criticism. 

Sandys, Edition of Cicero’s Orator. 

Schaefer, Edition of Dionysius, de Compositione Verborum. 

Spengel, Edition of Rhetores Graeci. 3 vols. 

Volkmann, Die Rhetorik der Griechen und Rémer. (Leipzig, 1885.) 

Walz, Rhetores Graeci. 9 vols. 


45 


40 METAPHORICAL TERMINOLOGY OF GREEK RHETORIC 


2, LIST OF AUTHORS CITED 


[Authors whose names are in capital letters are the most important, furnishing the 


largest number of examples. ] 


/®lian. 

Aéschines. 

Aischylus. 

Alcidamas (περὶ σοφιστῶν). 

Alciphron. 

Anthologia Palatina. 

Athenzeus. 

Aristides (Rhetor). 

ARISTOPHANES (Clouds, Frogs, 
etc.). 

ARISTOTLE (Rhetoric, Poetics). 

Anaximenes (Rhetor). 

Bacchylides. 

ere (Orator, de Oratore, Brutus, 
etc.). 

DEMETRIUS, περὶ ἑρμηνείας, On Style 
(de Eloc.). 

Demosthenes. 

Diogenes Laertius. 

Diodorus. 

DIONYSIUS OF HALICARNAS- 
SUS. (1) Epistulae ad Pompeium 
et Ammaeum. (2) de Compositione 
Verborum. (3) de Antiquis Orator- 
ibus: Iudicia de Lysia, etc. (4) de 
Admiranda Vi Dicendi in Demos- 
thene. (5) de Thucydide. (6) Ars 
Rhetorica. (7) de Priscis Scriptor- 
tbus Censura = ’Apxalwy Κρίσις. 

Eunapius. 

Euripides. 


Eustathius. 

Gellius. 

Gorgias. 

HERMOGENES, περὶ ἰδεῶν, etc. 

Hesiod. 

Homer and Homeric Hymns. 

Horace. 

Isocrates. 

LONGINUS (On the Sublime = περὶ 
tous). 

Lucian. 

Lycurgus. 

Menander, Rhetor and (2) Comicus. 

Ovid. 

Philostratus. 

PHOTIUS, Βιβλιοθήκη. 
Berlin, 1824.) 

PLATO. 

Pliny. 

Plutarch. 

Pindar. 

Pollux. 

QUINTILIAN (Institutiones 
toriae). 

Seneca. 

Simonides. 

Statius. 

Suidas. 

Tacitus (Dialogus). 

Theophrastus. 


(Bekker ed. 


Ora- 


βρότης, 19, 
ἀγκύλος, 17. 
ἀγλευκής, 28. 
ἄγονος, 19, 
ἀγοραῖος, 27, 
ἄγροικος, 27, 
ἀγών, 38. 
ἀγωνίζεσθαι, 24, 
ἀγωνιστής, 28, 
ἀδιάχυτος, 18. 
ἁδρός, 19, 
ἀηδής, 28, 
ἀθλητής. 28, 
ἀκατάσκευος, 41, 
ἄκεντρον, 25, 
ἀκμαῖος, 19. 
ἀκμή, 19, 
ἀκόλλητος, 39, 
ἀκόμψευτος, 22. 
ἀκρίβεια, 88. 
ἀκριβής, 88. 
ἀκριβοῦν, 88. 
ἀκρότης, 16. 
ἀλεξιφάρμακον, 85. 
ἀλκή, 20. 
ἀμβλύνειν, 26, 


ἀναζωγραφεῖσθαι, 43, 


ἀνδρώδης, 26, 
ἀνθηρός, 11. 
ἀνθίζειν, 11. 
ἄνθος, 18. 
ἄνοσος, 18, 
ἀντέρεισις, 41, 
ἀξίωμα, 1ὅ. 
ἀπαρτίζειν, 38, 
ἄπλαστος, 43. 
ἀποκυματίζειν͵ 12. 
ἀπομάττεσθαι, 44, 
ἀποσμιλεύειν, 381. 
ἀποτύπωσις, 43, 
ἀπόψυχα, 20. 
ἁρμόζειν, 88, 
ἁρμονία, 38, 
ἀρχαιοπίνης, 44. 
ἀσθενής, 21. 
ἀστεῖος, 27, 
ἀστεισμός, 21. 
ἀταμιεύτως, 33, 
ἄτονος, 20. 
αὐθάδης, 81. 
αὐστηρός, 28, 
αὐχμηρός, 20. 
ἀφελής, 17. 

ἁφή, 24. 
᾿Αφροδίτη, 29, 


APPENDIX 


3. INDICES 


a) GREEK 


ἀχάλινος, 25, 
ἄψυχος, 20. 


βάθος, 17. 
βακχεία, 80. 
βάναυσος, 21. 
βάρος, 16. 
βλακώδης, 20, 
βοστρυχίζειν, 28, 


T 


γλαφυρός, 88. 
γλυκύς, 29, 
γλυκύτης, 29, 
γοητεύεσθαι, 80, 
γόμφοι, 41. 
γόνιμος, 19. 
γοργός, 82. 
γοργότης, 82. 


δασύτης, 21, 
δεινός, 82. 
δημιουργός, 40. 
δημώδης, 27. 
διαλελυμένη, 87, 
διαπλέκειν, 36. 
διάπυρον, 14, 
διασαλεύειν, 12. 
διαυγής, 18. 
διείρειν, 81. 
διερριμμένη, 81. 
διῃρημένη, 37. 
διηρμένος, 16, 
διοικεῖν, 33. 
δριμύς, 28. 
δυσεξέλικτος, 36. 


Ε 


ἐγκατάσκευος, 41. 
ἕδρα, 41. 
ἑδραῖος, 41. 
εἰρομένη, 86. 
ἐκδρομή, 25. 
ἐκμάττεσθαι, 44. 
ἐκτροπή, 34. 
ἐκφλέγεσθαι, 14, 
ἔκφυλος, 28, 
ἐμβολή, 24. 
ἐμβριθής, 16, 
ἔμφασις, 15. 
ἔμψυχος, 19. 
ἐναγώνιος, 24, 
ἐνάργεια, 15, 
ἐνθουσιάζειν, 80, 


ἐνυφαίνειν, 85, 
ἐξασθενεῖν, 21, 
ἐξέρεισμα, 41, 
ἐξοκέλλειν, 26, 
ἐπαφρόδιτον, 29. 
ἐπικοσμεῖν, 22, 
ἐπισκοτεῖν, 15. 
ἐπιτραγῳδεῖν, 81, 
ἐπιτρέχειν, 24, 
ἐπιφυλλίδες, 18, 
ἐπιχαλκεύειν, 89, 
ἐποικοδόμησις, 41, 
ἐποκέλλειν, 26, 
ἐρείδεσθαι, 41. 
εὐγένεια, 28, 
εὔγραμμος, 43, 
εὐδοκιμοῦντα, 21. 
εὔζωνος, 22. 
εὔθικτος, 24, 
εὐκόρυφος, 16, 
εὐμορφία, 20, 
εὐπάλαιστρον, 24, 
εὐπίνεια, 44, 
εὔπλαστος, 48. 
εὔρους, 18. 
εὔρωστος, 18, 
εὐσταλής, 25, 
εὐστομία, 29. 
εὔστοχος, 24, 
εὐτελής, 22, 
εὔτορνος, 87. 
ἐφηδύνειν, 29, 


ἡδονή, 29, 


᾿ἡδύνειν, 29, 


ἡνία, 25. 
Θ 


θεατρικός, 81. 
θερμός͵ 14, 
θηρᾶν, 24, 
θολοῦσθαι, 12, 
θυμελικός, 81. 


ἰατρεύματα, 85. 
ἰδιώτης, 21. 
ἰδιωτισμός, 27, 
ἱππόλοφοι, 16. 
ἱπποτυφία, 16, 
ἱλαρός, 81. 
ἰσχνός, 19, 
ἰσχύς, 20, 


καθαρός, 12, 
καθαρότης, 12, 


47 


48 METAPHORICAL TERMINOLOGY OF GREEK RHETORIO 


κακόζηλος, 14. Μ πικρός, 28. 
κάλλος, 20, μαλακός 20, πικρότης, 28, 
καλλωπίζεσθαι, 22, μαλθακός, 20, πινόομαι, 44. 
καλλωπίσματα, 22, μανία, 30. πίνος, 44, 
κανών, 41. μεγαλοπρεπής, 16, 32. πλάσμα, 43. 
καπηλικός, 27, μέγεθος, 15, 20. πλάττειν, 43, 
κάρχαρος, 29, μεθύειν, 82. πλέκειν, 86. 
καταδρομή, 24. μειγνύναι, 18, πλούσιος, 28. 
καταθεῖν, 24, μεικτός, 13. ποικίλλειν, 35. 
κατακερματίζειν, 40, μειρακιώδης, 38. ποικιλία, 36. 
καταντλῆσαι, 18. μελαίνειν, 15, ποικίλος, 36. 
κατασκελετεύειν, 21, μελιχρός, 29, πολύπλοκος, 86, 
κατασκευάζειν, 41. μετέωρος, 16. πολύχους, 13, 
κατασκευή, 41, μικρόκομψον, 22, πομπή, 81. 
καταστρατηγεῖν, 24, μικρότης, 20. πομπικός, 81, 
κατατρέχειν, 24, μυκτήρ, 20. πρεσβυτικόν, 26, 
καταφορεῖν, 12. μυροθήκιον, 22, προγυμνάσματα, 34, 
καταφορικός, 12, προεξαγκωνίζειν, 24, 
κατεστραμμένη, 36, Ν προσκολλᾶσθαι, 39, 
κέντρον, 25, Dace on πτωχός, 28. 
κερανγύναι, 18. ae 39. ; πυργοῦν, 41, 
a ile tend! 13. νυμφόληπτος, 30, Ῥ 
κηλεῖν, 80. - 
κήλησις, 31, Ξ ῥάπτειν, 85. 
κολάζειν, 82, ; ῥεῖν, 18, 

᾿ ξηρός, 21. ee 
κόλασις, 88, ῥινᾶν, 89, 
κόλλησις, 39, O ῥυπαρός, 20. 
κολλομελεῖν, 89, ῥώμη, 20, 


ὄγκος, 16, 


κολοβός, 21. ῥωπικός, 23, 


; ὁδοποί 4, 
κολπώδης, 23. δὲ οὶ hele 
ΕΣ ΚΣ ΑΝ 37, he > . Σ 
οἰδεῖν 
κομψεία, 22, Ν ; ΟΝ pes 
μψεία, οἰκονομία, 833, Fae 32 
> . 


ὀρθός, 17. i 
σκινδαλ ts 
ὀφρύς, 20. mage 


κομψεύεσθαι, 22, 
κομψός, 22, 


κομψότης, 22, σκληρός, 28, 
κορυβαντιᾶν, 80, σκοτεινός, 15, 
κορῦβος, 80. π σκοτίζειν, 15. 
pe ENE παιδαριώδης, 26. σαφήνεια, 12. 
πο δ. πάλαισμα, 24, στιβαρός, 20. 
merce ΣΝ παλαίστρα, 24, στρατιωτικός, 21. 
xpéraov, 28. παράβακχος, 30, στρέφειν, 36, 
povvbs, 15. παράβασις, 34, στρογγύλος, 37, 
erevideu, 23, παράσημος, 40, στροφαί, 24, 
κώδων, 28. παρατράγῳδος, 31. στρυφνότης, 28. 
Keheiviceiv AD. παρέκβασις, 34, συγκροτεῖν, 39, 
none 21. παρένθυρσος, 80. συγξεῖν, 38, 
παρθενωπός, 26, συναρτᾶν, 81. 
παφλάζειν, 13. συνείρειν, 87, 
παχύς, 21. συνεξεσμένη, 38, 
λαβή, 24, πεζός, 25, συντομία, 16, 26. 
λαμπρός, 15. πεπινωμένως, 44, συστροφή, 36. 
λαμπρότης, 15. πεποιημένη, 38, σφίγγειν, 37, 
λεαίνειν, 38, περιβάλλειν, 22, σφοδρός, 32. 
λεῖος, 38, περιβολή, 22, σφυρήλατος, 39, 
λειότης, 38, πέριεξεσμένος, 88, σχοινοτενής, 17, 
λεπτός, 37, περιπατεῖν, 24, σωφρονίζειν, 82, 
λεπτότης, 37, περίπατος, 24, 
λευκός, 15, περιτορεύειν, 89, Τ 
λιτός, 36, ταμιεύσθαι, 33, 


λυγισμοί, 24, 


πικραίνειν, 28, 


τάξις, 25, 


eae 


Riel Me 


Pape 2 


i a 
oo 


hr alae 


: 


ταπεινός, 27, 
τάχος, 20, 
τεθνηκός, 20, 
τετράγωνος, 41, 
τμητικός, 25, 
Tomy, 25. 
τόνος, 20, 
τορεία, 89. 
τορεύειν, 88. 
τορευτός, 39. 
τορνεύειν, 87. 
τραγήματα, 29, 
τραγῳδεῖν, 81, 
τραχύς, 88. 
τρυφερός, 19. 
τυμπανίζειν, 80, 
τύπος, 43. 

Y 
ὑγρός, 18, 
ὑδαρής, 18. 
ὕλη, 40, 41. 


Α 


accuratus, 38. 
aculeus, 25. 
adaequare, 88, 
adipatus, 21. 
agrestis, 27. 
alienus, 28, 
amarus, 28, 
amoenitas, 19, 
amplitudo, 16. 
amplus, 19. 
animatus, 19. 
aridus, 21. 
asperitas, 21. 
astrictus, 18, 
ater, 15. 
athleta, 23. 
aucupor, 24. 


B 


bacchar?z, 30. 
bellus, 22, 


σ 


caelare, 88. 
calamistri, 23. 
calcar, 25. 
calidus, 14. 
calor, 14, 
candidus, 15. 
castigare, 33. 
celeritas, 20. 
certamen, 28, 
cincinni, 28, 
claudus, 21. 


APPENDIX 


ὕμνος, 35, 
ὑπονυστάζειν, 21, 
ὑπτιάζειν, 17, 
ὕπτιος, 16, 17. 
ὑφαίνειν, 35, 
ὑψηλός, 16, 
ὕψος, 16. 


φαιδρότης, 81, 
φάρμακα, 35, 
φοιβάζειν, 80, 
φοιβόληπτος, 80, 
φορτικός, 27, 
φῶς, 15. 


Χ 
χαλινός, 25. 
χαμαιπετής,͵ 17. 
χαρακτήρ, 39, 
χαρακτηριστικός, 89, 


Ὁ) Latin 


coagmentare, 89. 
colligare, 81. 
comptus, 22. 
condimentum, 29, 
condire, 29. 
contentio, 24. 
contortus, 17. 
curtus, 21. 


D 


deficere, 21. 
depingere, 17. 
deverticulum, 34, 
digressio, 25. 
dispositio, 25, 33. 
disputatio, 24. 
divisus, 37, 
dormitare, 21. 
dulcedo, 19. 
dulcis, 29. 
durus, 28. 


E 


effeminatus, 26. 
egressio, 34. 
elegans, 19. 
elegantia, 22. 
enervatus, 21. 
exercitationes, 24, 
exprimere, 44, 


F 
fecundus, 19, 
Jingere, 43. 
jlamma, 14. 


49 


χάρις, 29, 
χειμάζεσθαι, 26. 
χεῖν, 18, 

χεῦμα, 18. 
χρῶμα, 43, 
χυδαιολογία, 18, 
χύδην, 13. 
χύσις, 13, 
χωλίαμβος, 21, 
χωλός, 21, 


Ψ 


ψιλός, 21, 
ψυχαγωγεῖν, 31, 
ψυχαγωγία, 81. 
ψύχειν, 14, 
ψυχρός, 14. 
ψυχρότης, 14. 


ὥρα, 20, 29, 


Jloridus, 17. 
Jiuidus, 18. 
forma, 48. 
Frent, 25. 
frigidus, 14, 
Sundere, 13. 
fultura, 41. 
furor, 30. 
fusus, 13. 


gracilis, 19. 
grandis, 16. 
gravitas, 16, 


habenae, 25. 
hebetare, 26. 
hilaris, 31. 
humilis, 17, 27. 


I 
inanimus, 20. 
integritas, 18. 
tucunditas, 29. 


L 


lacerti, 18, 20. 
lenis, 21. 
levis, 38. 
limare, 39. 


' ludus, 24, 


lua, 15. 


50 METAPHORICAL TERMINOLOGY OF 


M 


madere, 32. 
magnificus, 16, 32. 
magnitudo, 20. 
medicamenta, 35. 
militaris, 27. 
miscere, 13. 
mollis, 18, 20. 
mulcere, 30. 
mundus, 22, 
mutus, 21. 


nasus, 20. 
nervus, 20. 
norma, 41. 
nota, 39. 


O 


obscurus, 15. 
opimus, 21. 
opulentus, 28. 
ordo, 25. 
ornare, 22, 36. 
ornatus, 22, 41. 
ossa, 18, 20. 


Ῥ 


parvitas, 20. 
pedestris, 25. 
pellucens, 13. 


A 
adorn, 22. 


amplification, 16. 


antidote, 35. 
appearance, 15. 
arid, 21. 
assault, 24, 
august, 32. 
austere, 28. 


barren, 19. 
beauty, 20. 
bewitch, 80, 
bind, 37. 
biting, 29. 
bitter, 28. 
bluster, 18, 
bombast, 16, 
boorish, 27. 
brilliant, 15. 
build, 41. 
buttress, 41. 
by-way, 34. 


pingere, 43. 
pinguis, 21. 
politus, 38. 
pompa, 81. 
pressus, 33. 
pulchritudo, 20. 
pungere, 25. 
purus, 12. 


Q 


quadratus, 41. 


R 


rectus, 17. 
robigo, 44. 
robustus, 19. 
rotundus, 37. 
rusticus, 21. 


sal, 29. 

sales, 28. 
salubritas, 18. 
sanguis, 19. 
sanitas, 18. 
severus, 28. 
siccus, 21. 
silva, 40, 41. 
simplicitas, 11. 
splendidus, 15. 


c) ENGLISH 


C 


character, 39. 
charm, 19, 29. 
chaste, 33. 
clean-cut, 25, 
clear, 15. 
coarse, 21. 
color, 43. 
colored, 48. 
comb, 28. 
compact, 37. 
concise, 18, 
conciseness, 26. 
copy, 44. 
counterfeit, 40, 43. 
curb, 25. 

curl, 23. 


dainty, 19. 
dead, 20. 
depict, 43. 
diffuse, 23. 
dignity, 16, 31. 


GREEK RHETORIC 


suavitas, 29. 
sublimitas, 16. 
subtilis, 19, 37. 
succinctus, 25. 
sucus, 19. 
supercilium, 20. 
supinus, 11. 


Tt 


tarditas, 17. 
tenuis, 19, 37. 
texere, 35. 
theatralis, 31. 
tinnitus, 23. 
tintinnabula, 238. 
tornare, 37. 
tumor, 16, 35. 
tympana, 30. 


U 


urbanitas, 27. 
urbanus, 27. 
uber, 19. 


Υ 


_ vehemens, 14. 


venari, 24. 
Venus, 29. 
venustus, 26. 
vs, 19. 
voluptas, 29. 


digression, 25. 
dirty, 20. 
dreariness, 28. 
drift, 26. 
driveling, 26. 
drug, 35. | 
dry, 20, 21. 


E 


economy, 33. 
elevated, 32. 
embellish, 22. 
embroider, 35. 
emphasis, 15. 


F 


fiery, 14. 

file, 39. 

finical, 22. 

flow, 13. 

flowery, 17. 

fluid, 13. 
force, 20. ) 
forcible, 32. ͵ 


orge, 39. 


oundation, 41. 


frenzy, 30. 
freshness, 20. 
frigidity, 14. 


glue, 39. 
grand, 32. 
gravity, 16. 
groveling, 17. 


harmony, 38. 
harsh, 28. 
honey, 29. 


inflation, 16. 
intensity, 20. 
invective, 24. 
involved, 17. 


jejune, 21. , 
join, 37. 
joyous, 31. 


keeness, 28. 
knit, 37. 


lame, 21. 
languid, 17. 
light, 15. 
lists, 24, 
lofty, 16. 
low, 27. 
lucidity, 12. 


madness, 30. 
manicure, 23. 
‘mean, 27, 
model, 44, 


G 


H 


K 


M 


APPENDIX 


N 


natural, 43. 
neat, 22. 
nobility, 28. 


O 


obscure, 15, 
order, 25. 
ornament, 22, 43. 


i 


pedestrian, 25. 
perfume, 22. 
plain, 36. 
plebeian, 27. 
pointless, 25, 
polish, 38. 
polished, 38. 
pomp, 31, 
processional, 31. 
profound, 17. 
prop, 41. 
prose, 25. 
prostrate, 16, 
puerile, 26. 
pungency, 28, 
purity, 12. 


R 


raillery, 20. 
relish, 29, 
rich, 28, 
running, 36. 


salt, 29. 
seasoning, 29. 
simple, 17, 19. 
smart, 27. 

smooth, 38. 
smoothness, 21, 38. 
sober, 32. 


sophomoric, 26. 
sordid, 20. 
spare, 19, 
sparing, 33. 
spur, 25. 
squalor, 44, 
stable, 41. 
stamp, 39, 
sting, 25. 
strength, 20. 
string, 37. 
sublimity, 16. 
sweeten, 29, 
sweetmeats, 29. 
sweetness, 29, 
swelling, 16. 


tangled, 36. 
tawdry, 23. 
terseness, 36. 
theatrical, 31. 
thread, 37. 
translucent, 13. 
trenchant, 25. 
tumidity, 35. ἢ 
turn, 37. 

type, 43. 


U 
unbridled, 25. 


Υ 
vehemence, 82, 
vigor, 19. 
virile, 26. 
vulgar, 27. 

WwW 
watery, 13. 


wire-drawn, 17. 
witticism, 27, 


51 


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